A few things coming together now, one a studio recorded album for Butoh dance and the other a curated annual event called Dismal Fest. Having worked with Butoh dance in the past has led to a current project with dancer Vanessa Skantze that incorporates several local sound artists. I will be doing final editing and mastering as well as some instrumental addition on a few sections of the final album. Don’t actually know all the details but it revolves around a complex vision that only Vanessa could conjure that includes a printed booklet and an international dance tour with the album for sale at the performance. Am just now starting to get recordings from the last several months, so much to do. Next January 15 is “Dismal Fest 4” a gathering to celebrate the most depressing week of the year with a bleak and sad musical experience. It will be cold, rainy, midweek and the acts bring each a different glorious pessimism. Lots of local experimental sounds promising a night of sardonic bliss. As the organizer of Dismal Fest I’m grateful to bring its fourth year, each one has been a wonderful experience and all around good times.
2.Recently you have released a new album, musically how does it differ from the stuff you have released in the past?
Every noisepoetnobody album has a combination of limitations that form its boundary, its place and time in improvisation. This album’s (Concrete Vitalist) big change is reliance on field recording, mostly with a contact mic. Collected from environments in urban locations, state parks, various pedestrian structures, public art, monuments and large found objects. These field recordings are then later layered with other synth sounds and edits of more field recording. Some of the strangest reverb sounds on the album are coming from actual acoustic places. Also, it wasn’t recorded in a studio; it’s assembled out of parts of things collected over about a year’s time. Lots of walking finding objects to mic and record. Walking and looking at the world as one big potential to become the next contact mic instrument. Never thought about how many miles walking was required to make an album before, this one took a lot.
3.In the last couple of years you have also released a great amount of material, do you spend a lot of time writing and creating music?
I’m always working on several projects at a time each one complete at its own pace. Many can be recorded in one day, improvisation with intense focused season between players then edited for production. Some combinations do best live and utilize recordings from performing, accepting the mix limitations. Not all of it works its way to an album - about 80% is cut out somehow or just hasn’t found a context yet. Constant process, always learning how to make it work with a limited budget.
4.On the new album all of the music was instrumental, are you open to using any vocals on future releases?
Definitely open to the idea of working with vocalists. Have a few that I collaborate with sometimes, but I don’t write lyrics or intend to add any poetry to noisepoetnobody albums any time soon. Although it has happened once or twice in the past where l included some of my own voice in recordings. Not looking to make a point or telling a narrative with verbal presentation.
5.What is the meaning and inspiration behind the name 'Noisepoetnobody'?
Wish I had a better answer for this but it was something I used to scribble onto cassette tapes in the early 90’s of demo tracks, random super lo-fi ideals not meant for anyone but me. Don’t remember it having a meaning of any kind. At some point it becomes a title for things I’m working on that don’t have another band name attached to it already. The mixed reactions to the name made me want to keep it.
6.Can you tell us a little bit more about the artwork that is presented on the new album cover?
The album cover art is from a photo taken at a recording site. As every recorded location was documented with a few quick photos this one image keeps coming back to me.
7.With this project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo?
Like to do what I can with solo recordings and performance as opportunity permits. Working alone allows my efforts to formulate on my own schedule. That’s good for someone with insomnia like me. However, noisepoetnobody albums often have collaborators with many diverse talents and music backgrounds. It’s just a matter of what album you are listening to. I also play synth in the duo Dosenöffner with Peter Keller who is a Seattle goth industrial DJ and noise proponent with too many monikers to list. Should also mention that I am responsible for the band Driftwood Orchestra. A revolving set of players from four to seven improvise on home built instruments made of collected driftwood. Waiting for the perfect excuse to display bent wooden relentless texture flow.
8.What are some of the best shows that you have played over the years and also how would you describe your stage performance?
My favorite performances are working with other musicians and dancers, me standing back or to the stage side. I just concentrate on what needs to happen in the improvised moment.
9.Do you have any touring or show plans for the future?
More of an opportunist than a planner at this point. More focused on recording and collecting audio.
10.On a worldwide level how has the reaction been to your music by fans of experimental, noise and drone?
Don’t know, not paying attention.
11.Where do you see yourself heading into as a musician during the future?
Not looking to predict the future.
12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
Can’t start to answer this question, too much music - don’t have the time to start making a massive list!
13.What are some of your non musical interests?
Can’t afford to have other interests.
14.Before we wrap up this interview, do you have any final words or thoughts?
No.
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