Saturday, 6 March 2010

DEADWOOD (Interview)

DEADWOOD (Interview)
By Kerval
Deadwood is a one-man project that was created in 2003 under the name Deadwood Murder, its only purpose was/is to satisfy my lust for raw and filthy black Industrial music. It has been a slow process with years in-between releases. The first demo was made and sent out to several labels in 2004. . Cold Spring records agreed to release the first full-length Deadwood album "8 19" (HS?). And summer 2004 a split tape with black metal band blodulv called The Havoc We Seek was released on the French BM label Forgotten Wisdom productions. Cold Spring records released the debut album '8 19' in summer 2005. It took quite a while to get the album out and for a while it looked like forces unknown was trying to stop this dark masterpiece to ever see the light of day. With multiple delays on various fronts nothing seemed to go our way. The first print sent over by the printer was a joke with the colurs all-wrong and the discs scratched. And when it was to be re-printed, the printing factory burned down. Now 3 years later, Deadwood's 2nd full-length album "Ramblack" is due in summer 2008, featuring guest vocals from Maniac (Mayhem). Expect nothing less than pure fucking darkness!

A pleasure to have you here in PAN.O.RA.MA Mr Jansson...which were the principal elements such musical as ideological to express yourself though a darkened psychotic act as DEADWOOD? And give us some details about your relationship between you and dark side of human psyche?
The pleasure is all mine. It’s always nice to get interviewed.
A product of flesh, soul and emotion. Deadwood was born to bring you darkness in sonic form, nothing more nothing less. The idea was to have no real boundaries what so ever, and it still is for that matter. I have always looked at things a certain way that wasn’t “socially accepted” and though things have changed with age and I don’t have to act out and/or feel bad about it, it its still there. And I think it always will be. Old demons make new ones and it needs to be vented. This is where Deadwood comes in, I would probably be in jail for some reason or another if it wasn’t for the will to be creative. Also, this is a fun fact, I worked at a mental hospital for a while, it was the most rewarding job I ever had. One can learn allot from the so called insane.

Does the more important element, in DEADWOOD is the raw sound, and destructive black atmospheres? and how important is creativity for you when creating stuff for DEADWOOD?
I need to be in a certain state of mind and have a certain type of creativity when doing Deadwood, its hard to explain but when I need to work on Deadwood material I feel that I have to do just that and I get lost in the recording process. I think it’s the total freedom Deadwood brings. It’s just me through and through. So yes, creativity is very important. But not any type will due. It has to be a certain kind to make the black atmospheres sound the way they should.

So, do you need a special mood or feeling for such catasthropic,obscure compositions? and tell us about the conceptual elements involved in "Tombs, confinement and absolute silence" album?
As stated above, it’s a special creative mood that needs to appear. And when it does it’s like a force of its own.
The Tombs, confinement….Web Edition, was something I had worked on and on for quite some time. But as stated on the website “nothing I wanted for a standard Deadwood release”. The concept behind it was claustrophobia and depression. The repetitive drones for me got me to a nodding state where everything just disappeared leaving me confined, trapped but still at ease. Hence the title.

Recently, "Ramblack"album was released via Cold spring...so tell us how has been the ideological and musical concept of the album and how
do you compare this new album against the last one "8 19",to those of us who haven't heard "Ramblack" yet?I don’t know if people notice the difference as much as I do, but for me it’s a huge difference between the two albums. This might have to do with that 8 19 was almost a 100% digital, with the exception of coloring the sound with distortion pedals and filters. And Ramblack was almost a 100% analogue if we don’t count the recording equipment. This, at least to me, made a huge difference in both sound and engineering. 8 19 to me is more dark and has a great flow as an album, and Ramblack has much stronger and evil tracks. Don’t know if they differ so much in ideology, but I look at it like this: 8 19 = soul. Ramblack = hatred. Don’t know if that is how other perceives it though, and I think people should have their own opinion about albums so…..

And how happened that Maniac got involved in "Ramblack" album...any other cooperation for future releases? And due the nature of DEADWOOD music, I asked you how much you are involved into magick and occultism?
I was approached by Justin of Cold Spring asking me about his idea about me collaborating with Maniac on the upcoming album. And from that things just happened. No collaborations with anyone is planned for the near future but who knows what will happened. The new album I’m working will be all me though.
I was really into the occult and studied it for quite some time, but now days there are not much room for it. I still find inspiration in the occult and different kinds of mythology, but it’s on a whole other level these days. And to be honest there is nothing that I would gain from starting up with it again, my mind is in a much more closed state now then couple years back, but how knows maybe it will be a renewed passion later on in life.

How such magickal studies a
nd practices has developed you in order to be a more balanced individual and increase your own mental capabilities?
Dealing with different types of experiences, spiritual as well as physical, makes you grow as a person. And if one can balance the two and not let either control you, it will make you both balanced and strong. I myself derive huge strength and balance from my life’s experiences and magical studies made things shine in a whole new light. It gave me new eyes to view the world with and even though I’m not currently practicing I will never regret the time I invested in it.

Why did you choose to express yourself through Music and not other for of art such as paint, sculpture, photography or movie films? How do you visualize DEADWOOD in a picture, sculpture if you have the opportunity to express DEADWOOD through a visual shape?
Actually, working with images has always been a passion of mine. I had my own “dark room” set up in my first apartment where I worked and developed pictures. Now, I work all digital with programs like Photoshop etc. Many of the images on my releases are my work. All the photos on Ramblack for instance, are photos I took during a trip to my local cemetery.
I would love to start doing video work later on in life and visualize my audio work that way. But since I barely have time to focus on my audio work these days I think that that would be a utopia.
Is known your collaborative project THE RITUAL INCLUSION OF CODE, between you an Osman Arabi,so please let stimulate us giving us some information about such project, and the main ideological concept handled on it?
The forthcoming TRIOC album (out on Small Doses later on) titled Beta Wave Nemisis is an album I am extremely proud of. And As Osman puts it “"Beta Wave Nemisis" mixes our darkest sides in a one long piece of claustrophobic sounds and hallucinogenic frequencies that we think it will serve as medication for the paranoid and the demented”. It combines both our ways of making sound into a something really insane and dark pulsing trough your senses. And Seldom Hunt did a great job with the visuals for this album as well, its one of the best releases through and through that I have been apart of. I’ll leave it at that and let the music speak for itself and let people make up their own minds about it.

Before closing the interview, tell us about upcoming releases by DEADWOOD? and give us some details about your bastard soon KEPLERS ODD, to those who haven't heard of it?

At the moment I’m working on a new Deadwood album, working title Sheolic. All sounds are done and I only have the vocal parts and mixing left. If my vision stays true to itself I think this will be the best album I have ever made. The feeling of the tracks is just “more” then I have ever created before. And I think the lyrics will be of a much more personal nature then before. Something to look out for in the future for sure!
Keplers Odd is on ice at the moment, but I’m hoping we can breath life into the old beast real soon. KO consists of me, Magnus Moilala and Kristina Persson. Magnus I know from my time in Blodulv and Kristina was a friend growing up. It differs tremendously from Deadwood in both sound an character but the dark atmospheres are still there, just with a whole other touch. A mix of ambient, noise, drone and old style Industrial with the inclusion of guitar, both electric and acoustic. It makes for some great listening I assure you.

Thanx for your time Daniel...let's finish the conversation in the way you wants!! Through the veils of darkness...DEADWOODS reflects its hidden masks of Death...

To all of you who support me, I salute you.
Praise and hail.
D.


Tuesday, 2 March 2010

AKOUSTIK TIMBRE FREKUENCY (interview)

By Kerval
Akoustik Timbre Frekuency utilises various tekniques including Alpha/Theta/Beta waves, Ritual Instruments from around thee world, Elektronik Soundskapes and thee Magikal use of Voice and Language. These are Praktikal Muziks that can either be used to program/me thee listener with a Specifik Intent or to 'loosen the shackles of the soul' as Crowley put it. Thee result is a kombination of Akoustik and Elektronik textures that attempt to induce thee listener into a receptive state of konsciousness to be used as he or she sees fit. It is a Sonik Tool...

Priapus 23,In order to start with the interview,tell us about the name AKOUSTK TIMBRE FREKUENCY,and its in deep relationship between ATF and your magickal paths ? And give us more details behinds the mastermind behinds AKOUSTIK TIMBRE FREKUENCY?
Akoustik Timbre Frekuency basikally represents thee ‘building bloks of sound’:
Akoustik represents both thee Akoustik Instruments that I use and thee ‘Psyko-Akoustik properties’ of thee sounds…
Timbre inkludes thee envelope and spektrum of frekuencies that give sound it’s partikular ’shape’, what makes a trumpet distinguishable from a violin for instance...
Frekuency inkorporates thee fundamental frekuency and thee overtones that instruments kreate and how these kan affect thee brain to induce trance, etc through various methods inkluding ‘beats’. Beats are kreated when there are two slightly differing frekuencies that produce a modulating pattern and has been used traditionally by instruments such as Gamelan and Tibetan singing bowls and, in a more modern kontext, by ‘brainwave machines’ and thee like...
I use a ‘K’ in my partikular spelling for several reasons... Firstly, it’s thee 11th letter of thee English alphabet and 11 is thee ‘number of Magick’ (a la Crowley)... Sekondly, I use it to differentiate between thee ‘mundane’ and thee ‘arkane’… A deliberate mind split between my ‘everyday’ self and ‘Priapus23’... Lastly, it is thee first letter of thee name given to me by my parents and, behind everything else, I have tried to make Akoustik Timbre Frekuency as personal to myself as possible whilst outwardly kreating works that are ‘open’ enough to be used by others for their own personal Experiments and Projekts...
I have been interested in thee Psyko-Akoustiks of sound for about 21 years now, since I was 15... Whilst at kollege I produced a research projekt entitled ‘Thee Psyko-Akoustiks of Non-Western Ritual Muzik’ during which I delved a lot deeper into Tibetan, Gamelan and Tuvan Muziks as well as thee theory of Beats...
I have had a keen interest in producing altered states of konsciousness using sound through all this time and have been researching and honing my skills to produce what I do today…

Does the term "
General Ritual Intensifiers’,has palapble conections with your own subconscious energies emanated in this existential plane? A kind of gnostik transition beyond your mind,body and soul?
I kame up with thee term ‘General Ritual Intensifiers’ to signify a komposition that kan be used as ‘bakground atmospheriks’ for a variety of Rites... Neutral Muziks that are only intended to enhance thee Gnostik Experience of thee Participant... Thee other type of komposition I kreate I term an ‘Audio Sigil’ in which a partikular Sentence of Desire has been enkoded, through numbers (song length, tempo, etc), thee sounds used and chanting thee aktual sentence itself using Ouranian Barbarik as my Magikal Language... Sometimes this is then kut-up before adding it to thee komposition...

Due your eclectic nature reffering magickal paths..kaos magick,thelema, deconstructionism, left hand path... I ask you,how do you reflects all such elements in your personal life and obviously through AKOUSTIK TIMBRE FREKUENCY ?
Some major influences for where I am today have been Aleister Crowley, Robert Anton Wilson, William S Burroughs, Phil Hine, HP Lovecraft & Carlos Castaneda (to name but a few!). I have taken parts of everything I have learned over thee years and kreated a personal system that works for me… Let’s take Memetik Etchings as an example:
I wanted to re-fokus my intentions for Akoustik Timbre Frekuency… I have a sigil that I kreated for a personal servitor a few years ago... Thee sigil was kreated using thee Kaos language ‘Barbarik Ouranian’ (as mentioned before) to write thee Sentence of Desire and then I broke this down and kreated thee sigil in thee traditional way... Thee Muziks were kreated for thee planned ‘Re-Energising’ of my sigil, although still without any specifik intent programmed into the Muziks... I then had an amulet kreated with thee sigil design and, on thee day of release, I was also tattooed with thee sigil... Then, on thee 23rd of thee month, I charged thee amulet and sigil together, binding them to each other and to me through thee tattoo using thee kompositions as atmospheriks during thee Rite…
So thee result is something that is highly personalized to myself but at thee same time thee Muziks are open enough for others to use for their own Praktices…

In some words we could say AKOUSTIK TIMBRE FREKUENCY is a living sigil made flesh thoguh deconstructive sonic,vibrational patterns?
Rather than a sigil itself it is a vessel for thee sigil, its vehikle… Thee vibrational patterns open gaps for your chosen sigils to pass through… I use thee kompositions for my own ‘Work’ but others may also use it as they see fit... For me ‘Akoustik Timbre Frekuency’ has bekome more of an ‘Egregore’, an idea that has taken on it’s own form, a ‘Meme’ that is something more than ‘just a part of me’… Thee ideas and Muziks that make up thee whole of ‘Akoustik Timbre Frekuency’ would still be here even after ‘I’ was gone…

Could you tell us more about the suggestive and transformative visual work "Kalibration of thee Gods" with the help of video artist Madguten ? any otehr visual trasformations to be performed?
I wanted to have a short film kreated for one of thee kompositions from thee release of ‘Kthonik Korridors’ and Madguten seemed an obvious choice for me… I had seen several of his other works which also had strong Kthulhu influences and really liked his produktion style… We have bekome good friends over thee last year or so, finding much kommon ground and have decided to work together on several other Projekts… There will be more kollaborations in thee future inkluding a short film we recently kompleted for thee final New Aeon Symbols installment from Quartier23…There may also be some films kreated to be released as bonus features for one of thee Notariqon re-releases planned for later in thee year, but this is still in thee very early planning stages…
I asked Madguten if he would like to komment on thee film ‘Kalibration of thee Gods’ but he prefers for viewers to kreate their own relationship with his visuals, a moving image version of a rorschach blotch if you will, so I will respekt this and not komment on thee aktual content myself…

Talking about visuals...are the most interesting elements in AKOUSTIK TIMBRE FREKUENCY,to live performances,to cause in deep subconsious meta programing,trance states,vacuity of senses,in listeners through visual,sonic experimentations?
Yes, exactly right… Thee visuals and akoustiks are meant to kreate thee neither/neither state for thee programming of myself and audience… Visual symbols bombard thee konscious mind from thee bakground films whilst thee Muziks ‘open thee gates’ of thee subkonsious… Again, thee symbols used kome from a variety of traditions and do not usually karry too much in thee way of ‘specifik intent’ to keep thee experience open for thee Audience/Participants... Thee same is true for myself on stage... Although I mainly do not see thee visuals I am konstantly using chanting, breathing exercises, purposeful movement and thee Muziks themselves to bring on a Gnostik Experience for myself… I find that, after a performance, I am left slightly dazed and konfused with little memory of what just happened…

Your upcoming release is "Kthonik Korridors"...so give us some more details about such release and in a way this album is a deep exploration at the more dense sub consious leves in which resides your own Cthulhu...evoked through the audial atmospheres created by you?
‘Kthonik Korridors’ has six new kompositions totaling just over 57mins... Thee new album pays homage to H.P. Lovecraft, to whom I owe so much... It is to be used as bakground atmospheriks for Rites dedikated to thee Kthulhu Mythos... Thee kompositions were named using kut-ups of ‘The Call of Cthulhu’ by Lovecraft except ‘Kalibration of thee Gods’ which , as mentioned, was used as a soundtrak for thee short film by Madguten...
I moved from thee Greek Myths to thee Kthulhu Mythos of Lovecraft at thee age of 9…I think diskovering them at this young age helped to kreate a vivid imagery of thee mythos that has always stuk with me and so I decided to exploit this... Thee Mythos have been a part of my life for 27 years now in one way or another which has helped me to build a potent relationship with them…
When I first diskovered thee work of Lovecraft, I associated much of thee Kthulhu stories to ‘Thee Forbidden’, ‘Thee Hidden’, ‘Thee Okkult’ in thee true sense of thee word…It is no koincidance that I also began my first child-like ‘Okkult Praktices’ at thee same age, As far bak as I kan remember I have always been looking for something behind thee konscious, mundane existence that we experience on a day-to-day basis... I always wanted to know ‘what lies beyond’, ... I still to this day remember my first day at skool at thee tender age of 5…We were taken to thee main hall and talked through thee rules and regulations of skool and what we should expekt from this new experience…At thee end of thee talk they asked if we had any kuestions… ‘Aha!’ I thought ‘This is a Place of Learning, with people that ‘Know’…I kan finally get thee answer to my Burning Kuestion!’ I raised my hand and waited to be prompted at which point I asked ‘Who made God?’ I was chastised severely by thee ‘Fools who know Nothing’ (as I knew them from that moment on) for being ‘stupid’ in front of everyone and I learnt to keep my mouth shut and find out for myself…So I’m sure you kan imagine my amazement and delight when I first diskovered Kthulhu and thee like…Suddenly these vast new dimensions were opened up for me to lose myself in…I instantly identified with thee lonely haunted kharakters lokked away in their rooms and delving into thee ‘hidden knowledge’ of thee Old Ones using ancient keys (both real and metaphorikal) to unlokk thee gateways to other worlds…
So yes, this album is my expression of gratitude to HPL for all of thee above…

Due to your long trajectory and several releases,tell us how has been the evolutive musical process from the Demo 2001 to now year 2010 E.V at ""Kthonik Korridors"?
Over thee years I have kontinued my research which has helped to refine thee ideas behind Akoustik Timbre Frekuency, as I am sure it will kontinue to do… Thee aktual Instrumentation and kreative processes have evolved over time as I have bought new software and Ritual Instruments… I have enkorporated more and more aktual Akoustik instruments rather than samples being played and have started to spend time programming and processing thee kompositions using komputers rather than spontaneous improvisations using analogue synths, etc… Thee Muziks have begun to lean more towards thee General Ritual Intensifiers katagory than specifik Akosutik Sigils as well... Even ‘Kthonik Korridors’ is as open as possible rather than any specifik Kthulhu Invokations inkluded… Thee Sounds that I have used have changed as I have moved to new environments as another part of my Projekt has always been to inklude that which is around me at any given time… Field rekordings of thee sea when I lived on thee koast, lokal nature parks, tunnels, etc… At thee moment I am living near a huge ancient woodland so this has begun to feature within both my audio and video works…

How has been the cooperation with Marco from quartier23,and any upcoming release to be released there? Have yuo think in the possibility to express yourself though another musickal project or perhaps through another form of Art?
I have found it to be a very produktive and positive kollaboration... Over thee last year I have had two releases on Quartier23 (thee aforementioned ‘Memetik Etchings’ and thee first in their ‘Ritual Musick Series’ with my re-mix and re-release of ‘Evolution’) and three releases on their free download sub-label Notariqon (with thee re-release of ‘Apokrypha Unabridged’, ‘Thee Serpent’s Embrace’ and ‘Dreamtime’) all of which have seen over 1,000 downloads... I have also taken part in four kompilations: Parts V and VI of thee ‘New Aeon Symbols’ series for Quartier23 and ‘Climax’ and ‘Tales from the Grotesque and Arabesque’ for Notariqon... I will be kontinuing to work with m.arc.o over thee next year with an album entitled ‘Ritualistik Kuttings’ on Quartier23 and several free downloads through Notariqon inkluding a re-release of ‘Dogon’ (adding new film work kollaborations with Madguten as mentioned before), a new kollektion of unreleased material under thee name ‘Apokrypha II’ and maybe a release of thee ill-fated ‘Gnostik Spasms’ which was supposed to be thee first ever Akoustik Timbre Frekuency release a few years ago on another label but which never saw thee light of day for one reason or another…There may be some performances in Germany hosted by Quartier23 over thee Summer as well as some shows in Holland and thee UK…
As for other Muzikal Projekts, I have several kompositions sitting here on my komputer for my Power Elektroniks Projekt ‘Kritikal Overload’... I began Kritikal Overload before Akoustik Timbre Frekuency and konsider this to have thee same effect as ATF but through a different process…Whereas ATF gently persuades you into an altered state, KO drags you kikking and screaming as it melts your ‘Ego’... I have an album entitled ‘Blasting thee Tower’ by KO which was kreated several years ago that I never got round to doing anything with as ATF became my main fokus… Maybe if someone is interested in this they kould kontakt me but I don’t really have any plans for it…
I also have my film-work… I have recently kompleted a short film using footage of myself during a Salvia Rite in thee woods I mentioned earlier with a new ATF komposition for thee soundtrack and have some other Projekts in thee planning stage…
I have also toyed with thee idea of a book at some point…I have many skraps of paper filled with my experiments, research, etc and should put all of this together as a loose guide for others...sometime…

Thanx alot for this short but effective interview and keep on Transcending...Transmutating...Kreating...your final visions are appreciated here!
Thanks for thee interest and support… This had been a good exercise in re-fokusing myself on my aims…
++Transcend Transmute Kreate++
P23