Saturday, 6 February 2010

iN (s)CissorS Interview

IN (S) CISSORS
I
nterview
By
Ker
val

The shape of vincent Andelmoth has been recognized as a creative visual artist and deconstructive spirit though his musical project iN [s]CissorS,described as "Cinematic Ambient"...so,here is a long interview with Mr Andelmoth in which he explores the different visions,thought and structures reffering iN [s]CissorS such as his personal activities.
Please step inside and wander through the realms of iN sCissorS

Salut Vincent, and welcome to PAN.O.RA.MA Journal...so, tell us about how was born in your mind the idea to express yourself through a Dark ambient/neoclassical act such as iN(S)CissorS? And what's the hidden persona meaning behind such name?

Greetings my friend Kerval. First of all I want to thank you for your interest through all these years and your support as well as for hosting iNsCissorS in your journal! So, let us begin, iNsCissorS was born during the winter of 1999, with a different name back then but the main idea to evolve was more or less the same with today. I don’t exactly know how it came to form such a project to be honest but it was and still is my need to express myself through music and experiment with sound.

Through time the project’s sound identity started to take shape and form, thus derived the image iNsCissorS has today, meaning not that the possibility of changes and even more experimentations are not possible. Music is as flexible as the human mind is open towards it, provided that the idea of music is above all highly respected.

At this point I believe that there is the need to mention No Angels Prod. And my really good friend behind the label, Radunir, he along with a friend of mine named Michael are responsible, each one in his own way, for giving the needed boost to my confidence to take iNsCissorS one step further in 2007 and release “The Veratrine Evangelicum” on No Angels. Prod. Before that I did never though of taking my chances to present my music to a wider audience than my friends. I want to thank them both for all they have done up to these days and for what they still do.

As for a hidden persona, I don’t believe that there exists one behind iNsCissorS. Since this project is my thoughts and another side of myself which I prefer to express through it, but myself consists of these parts so iNsCissorS is still me in its own way. iNsCissorS may describe a world that physically might not exist but these are all my point of view and also metaphors for the listener to explain.


In which way do you think iN(s) CissorS, as a latent important element in your life has given to you so much bases and ideas for your developing as graphic artist? What’s the main emphasis you focused on when creating a digital image or visual structure?

iNsCissorS is a great part of my life and of high importance, a co-existing entity I might say and it means so much to me. To be honest I don’t see or consider myself as a graphic artist, I just try to also translate my thoughts and music in images, the truth is that in the field of graphics I am self instructed so every chance to create an image is a challenge for me to find out something new. iNsCissorS is so strongly bound with its visual side and thus making the musical and the visual parts inseparable.

The bases for the creation of an image or video come with the completion of the music whether it is for just a song or a whole album. After the musical part is finished I re-enter myself into it but this time to create the visual aspect of the sound.

A fact is that I don’t think iNsCissorS as a latent element in my life but having a mutual need for each other, my mind is bound to it and it to my mind.

Due, the so high development and complex arrangements your music has. So I ask you: do you need to be in an especial mood or feeling when creating music for iN(s)CissorS?

Absolutely. For me creating and working on iNsCissorS and in general with music is something like a sacred ritual. There are feelings that will stimulate my mind so as to compose a melody and step inside another reality in order to work on soundscapes/effects and melodies. Each time I isolate myself to an environment I feel that nothing and no one can enter without my permission while I am working. This might take hours or even days. After that I have to return to reality. Another motivation might be a visit to some place that will stir me, for example upon returning from one week of holidays in Prague on December 2007 my mind was full of images and melodies.


Now, let’s go enter to the realms of "The Veratrine Evangelicum", and to explore a bit about the main ideological concept behind such title and compositions in general? So, does pain, desolation and mental freedom are elements which one can find when exploring deeply the whole music in "The Veratrine Evangelicum"?

Well “The Veratrine Evangelicum” as mentioned is in a way a live album, with the exception that there was no audience at that moment, it was recorded in one night while experimenting at home…These have been some very strong moments which I can still remember so vividly.

So, the ideological concept derives from the album’s title. First of all allow me to provide an explanation of what “Veratrine” is so as to analyze the title and therefore the concept. “Veratrine” (Veratrum) is a kind of poisonous plant, a genus of coarse highly poisonous perennial herbs of the Melanthiacae Family but other than its use as a fatal poison it can also be used for treating several ailments when used in the right way and amount. This provides its existence a different meaning each time based on its use, proving once more that everything in nature has its purpose and maintains balance. In contrast with what at times may humans create willingly or not that can be completely inane (like roaches for example).

Now, combining the words “Veratrine” and “Evangelicum” aims to create the meaning of what a book and its’ content may be. It is what

the reader will translate at the end in his/her own mind and therefore adapt to his/her way of thinking. This may be like “Veratrine/Veratrum”, either dangerous or salvific and in this album’s occasion a Gospel. The sayings of Jesus Christ for example or the apostles can be explained depending on who gives the explanation and the way he/she receives them or thinks in general and sometimes they might prove fatal as shown in the past ( e.g. The Inquisition). This may exist in any kind of religion and at this point I think it would be wise to make clear that I do not oppose to any religion since it derives from the need of human nature to believe in something above so that the weak may bestow their hope upon it, I oppose to the people who use religion in their profit deviously taking advantage of the others.

Pain and desolation do exist in this album but mental freedom is addressed to the listener to enter him/herself into the realm of Subterranea, where the whole album is supposed to take place, and make him/her create a different reality

. This of course depends on where and how one listens to the album.

Finally the concept in a brief is to present a world that has fell in oblivion from all mindless and dogmatic manipulating beliefs that ruin human decency, diminish the value of life and therefore balance in life and nature. For example in “Roaches’ Temple”, roaches is something that has derived from human doings and it is a plague to this world, so referring to the idea of “Veratrine/Veratrum” and nature you can judge by yourself.


Reveal us a few about the visual side behinds the cover album, and the development of your mind while working on such images, so I mean what do you want to represent which each one of the images? Perhaps each image has a hidden connection with one of the VI chapters included on The Album?

The images of “The Veratrine Evangelicum” comprise an alteration to the Christian religious images, another aspect to make them fit to the album’s idea and the concept that everything is possible to be different than what it seems to be behind a dogma, that’s why the stigmata appear on the body of a woman for example, where we all know that the dogma considers woman as the source and the reason for the pain and condemnation which befell the protoplasts. Why I chose the Christian dogma? I believe that when using an idea that has great effect on people and altering it the effect of the alteration will be the same strong in it’s own way and controverts what must be questioned.

“The Veratrine Evangelicum” represents an altered reality and that’s why these images depict their symbolisms in an inversed state (the wounded body of the Messiah is depicted as the body of a woman for example, aiming that this contrast neutralizes the

usual symbolisms and questions them). The truth is that the images are not linked to each chapter separately but to the whole album in order to provide a general image of the album’s atmosphere, concept and philosophy (if I am allowed to use the specific word). From that part and on is up to the listener to use his/her own imagination and create his/her own images so as to enter the realm of iNsCissorS and Subterranea. I just show them the gate, what they will find beyond it is up to their mind and way of thinking.


Your new album is called "Orbis Terrarum Requiem”, So will be great to carve more inside the main concept of the album, and about in which way do you think the musical side has evolved so much in comparison last album?

“Orbis Terrarum Requiem” was released last summer on Zoharum Records as a DigiCD in 500 copies. The main concept of “Orbis Terrarum Requiem” is what humans have caused to Earth and Nature. As mentioned in its title it’s a “Worldwide” Requiem. The album is a lamentation for the human decline and disrespect towards the environment. It describes a world deserted and the only inhabitants are life forms that used to dwell beneath the Earth's surface even long before the Nature's fall and they still do after it...

I believe that this album is more than a step further to the musical evolution of iNsCissorS and it has a more personal touch and identity this time. I consider it more mature in the fields of structure, sound and composing. I didn’t want to make just another dark ambient album to play in the background but to enrich more and various elements and provide a different character to it. Not to keep it into just dark ambient. Up to now I feel really satisfied that all the reviews “Orbis Terrarum Requiem” has received justify my thoughts and my expectations for it, even some times exceed them too. It is really great to see that people can understand what iNsCissorS has to tell and appreciate my work.

From the reactions to “Orbis Terrarum Requiem” derives the need to work harder on my next release and make something even more mature and to take iNsCissorS at least one step further again. I have promised myself that I won’t tolerate something less than “Orbis Terrarum Requiem”.


So, I was thinking, how will be an iN(s)CissorS live performance? Which visual elements will you use in order to give a more proper atmosphere to the music performed live?

Up to now I had the chance to perform live three times since 2007. The first two took place in Greece, the first one in the town of Xanthi (with the support of my friend Michael and the Folklore Museum of Xanthi) and the second one in Rethymno at the island of Crete with the support of “The Bloodcult ‘zine”. The third one was in July 2008 in Budapest/Hungary at Hyperborea Fest. VII where I had the honor to perform along with Vestigial and Raison D’ Etre (where the second one is one of my most admired musical projects). Then came a pause for a year and some more since I had to join and serve the army (which is obligatory here in Greece by the legislation).

My performances up to then were accompanied with some video projections in the background made by me (abandoned places, basements and in general images of desolation were the main subject of the projections but not only this). This is a feature I will keep and work even more on it henceforth and also work with brand new equipment and techniques on the musical and sound part.

There are some more ideas which are under thought and development at this time to even make the performances quite more interactive but since I have not made up my mind about them yet I think it

would be better to finalize them first before talking about them and see how they work in performance conditions.


Any influences are crawling to your mind in order to express through another musical project, an exhibition of your visual art etc? What’s coming for this year 2010 with iN(s) CissorS, any new release or something more?

Well for the time being there is a project/band I am working on but this is in a completely different form and sound direction. It deals with harsh electro/aggrotech sounds and it is called Hydra Division V.

Apart from this project there are quite some ideas I am working on but time and their final form will tell if a new project will derive from them or if they will be merged with my work on iNsCissorS.

An exhibition of art is something that I have considered quite some times but I have not decided yet (though I have already exhibited older works of mine once in the past), it is very possible to take my chances with that again but if something like this is to happen I want it to be something special and this requires more time than I can afford at this point, right now my top priorities are iNsCissorS and Hydra Division V.

I think it’s too early to talk about specific things in 2010, as mentioned before I will provide iNsCissorS the time needed to create an album to exceed the level of “Orbis Terrarum Requiem”. But there are some things that I can tell for certain at this point.

First of all is something that I have to admit I am proud of and at the same time honoured by it. I have been given the opportunity to compose the score for the short film called “Destin” by John Santerineross. I worked in new ways this time and there is also physical cello (performed by my brother Jason) and female choirs in the score (performed by my dear friend Angel) combining them all together have given iNsCissorS a new sound but without hiding the projects identity.

John Santerineross has been my favourite photographer/artist for many years now and it has been a great challenge for me to compose a score worthy of “Destin” and work with an artist I highly admire. I also through all this had the chance to meet the artist (even through the internet) and to find out that he is a really great guy and that this is a unique experience that taught me much.

Other than that I am also working on a project along with another artist/musician whose work i really like and feel happy to work alongside with. He's Simon Kolle (Za Frumi, Musterion, and Abnocto) and we have already started to compose its music and soundscapes so shortly after our first work's completion we will be looking for a label.


Tell us a few about promising acts and projects into ambient/industrial fields coming from Greece? And thanx a lot for your time and support my friend so close this as you wants!

As for acts from Greece I unfortunately can’t seem to find anything in that field, at least at this time period, I remember an act that draw my attention some years ago was Seelenblut. Unfortunately the lack of new promising acts in general is that some people don’t look deeper to what music is, that music is an open-ended vessel to express one’s feelings and mind and not a way to show off by making something that they think it is extreme or underground and thus they fall away from the essence of it.

In my opinion the dark ambient sound is a really tricky and yet misunderstood field. It is easy to create “one note” ambient tracks or present a pointless and even sometimes excessive use of noises without structure or purpose. It doesn’t mean that since someone found a pad in some software or hardware synth, locked a note to play throughout the whole song and added some samples, distortion and noises that he created dark ambient music. The hard part is to create something unique.

This is a field to create ambiances, atmospheres and to experiment/improvise, to free ones/your mind, not to use stereotype methods that even someone who has no idea about music can effortlessly do. Also dark ambient is (in my opinion always) meditative music and therefore it can’t be something random in that way. So I believe that there’s a very thin line between what is really dark ambient with what is futile noises and random sounds. One might think that I judge things hard with all that is mentioned above but I am sure that those who know what they are looking for in dark ambient and experimental music can clearly understand my points.

Closing this I want to really thank you for your support my friend as well as everyone who has supported iNsCissorS up to now. Also I want to thank Danni both for appearing on "Orbis Terrarum Requiem" cover and for being one of the most important people in her own wonderful way for my inspiration and standing beside this project. I hope I didn’t tire you up with the length of this interview. I am really honoured by being hosted at your journal and I wish you all luck with your work here and your music too.

With my warmest wishes to all of you reading this and respect

Sincerely

Vincent Andelmoth