Dark Entries is an independent Belgian music webzine with a focus on dark sounds. The webzine itself is completely in Dutch and can be found at www.darkentries.be. This blog was created with the intention to have an additional online place where our editors can post their English articles.
On the Amphi Festival 2019 poster, a special name is
featured. On the last line, in small letters, it says Fïx8:Sëd8, an artist
which you would not really expect at a large festival with names such as
Blutengel and Lord Of The Lost. I have seen Martin Sane (real name: Martin
Januszewski) perform in small clubs several times, at small-scale dark electro events
that usually only attract a niche audience. The fact that Fïx8:Sëd8 is now also
programmed at one of the most successful gothic festivals in Germany is therefore
relatively surprising, although it helps if you are signed to a leading label
such as Dependent. However, Martin will have to be content with a modest slot as an opening band: Fïx8:Sëd8 is already playing at the Orbit Stage in the
early Sunday afternoon.
The timing could not be better: last month, Fïx8:Sëd8
released the album 'Warning Signs' and it is to be expected that Martin will
play many songs from the new record on his summer and fall tour, which recently took off with his passage at the Familientreffen. Already at the time of the
previous album 'Foren6', he had announced that the new CD would be
fundamentally different. For 2 years, I was wondering what he meant with that.
With 'Warning Signs' playing nonstop in my car in the last few weeks, I think
I finally know the answer: the new Fïx8:Sëd8 is more alternative in a way. As
in: less electronic than what you would expect from a dark electro act. Tracks
like 'Syringe Relation', 'Love' and 'In Denial' (the latter being featured on the bonus
CD 'Aftermath', which you get with the limited edition) are not typical dark
electro and not even typical dark electronic music generally speaking. That may
sound rather cryptic, but I would not know how else to describe it.
Do not fear: there are for sure authentic (dark)
electro tracks on this album as well. My personal favourite is the title track
'Warning Signs', which is the last song on the CD. This one starts ominously,
with various unearthly vocal effects that are reminiscent of Skinny Puppy.
After a dark and atmospheric intro/build-up of roughly 2 minutes, the tone
changes, which changes once again a few minutes later, after a kind of
cinematic interlude. Very cool, although I wonder if and how Martin could bring
such a complex song live. Another track that stands out for me is 'Within Cells
Interlinked', which is strikingly "clubby" by Fïx8:Sëd8 standards. The
same goes for the 'Ruptured Blood Vessel' remix of 'Embolism' on the limited
bonus CD, which is more dancefloor-friendly than the original on the actual
album. My top 3 is completed by 'Futile Attempts', not in the least because of
the lovely vocals/vocal effects and occasional piano. The other songs do not
appeal to me to the same extent, but I must admit that they are really well-made.
Then again, I do not expect anything else from a dark electro artist who knows what he is doing.
On social media, certain diehard "Fixie"
fans claim that 'Warning Signs' would be (even) better than 'Foren6', but I do
not agree with that. Both are very good albums, but personally, I prefer the
more classic dark electro style on 'Foren6', which explains why I have deducted
half a point (my ratings always reflect a combination of objective and
subjective considerations). But all fans probably agree on one thing: Fïx8:Sëd8
is by far the best (or at least the most interesting) addition to Amphi's line-up
this year. Go watch it!
Genre: EBM - Electro Label: 9XO Media Rating: 8/10
attended BIMFest last year could get acquainted with Amnistia. For me, it was
not the first acquaintance, however, it was the first time I saw the gentlemen
in my own country. I have already met Stefan Schötz and Tino Claus various
times during my wanderings in the European old-school electro scene. Most of
the time, I encounter the two in East Germany, more specifically at the WGT EBM
Warm-Up in Leipzig (their place of residence) and at the Lauscher Festival in
Erfurt. I have also stumbled across them in Oberhausen (E-tropolis
Festival) and in Bratislava (Dark EBM Souls). But then again, the European dark
electro scene is very small and everybody knows everybody. Consequently, it was
written in the stars I would review this CD, even though I have bought it
myself. Believe it or not, but us reviewers still invest in music, even though
we can generally still obtain (digital) promos rather easily.
'Black Halo' is
the follow up of 'Dawn', the album from 2016 which I also reviewed for this
webzine at the time and on which former third band member Jan Moritz had still
collaborated. Amnistia has now been a duo for a while and that has in no way resulted
in any loss of quality. Just like the previous album, 'Black Halo' is a
guarantee for cast-iron compositions in the old-school electro/EBM setting. Compared
with other bands in the contemporary dark electro scene, Amnistia has always
been more EBM-oriented. Their tracks have a cutting-energetic touch which you
do not encounter with let’s say, Fïx8:Sëd8 or Pyrroline. I certainly think they
are talented, but fact is I am personally more into classic dark electro. I
have always struggled a bit more with EBM, even though that strongly depends on
the kind. For instance, I do not like Nitzer Ebb/Anhalt stuff at all, but
fortunately, that is not the case here. Amnistia’s EBM is of a very different
(and in my opinion, much more varied) nature.
Even though I have
to acknowledge that 'Black Halo' is objectively well-made, I do not like all
songs to the same extent. For example, 'The Itch' sounds rather overloaded and 'Last
Words Purify' vaguely reminds me of 'Nightfall (Over EC)' by The Cassandra
Complex, a song which I have never liked. I also deem 'Suffer' as one of the
less memorable compositions. But the majority of the tracks is certainly good
or great. My top 3 consists of 'Through The Night', 'Misery' and 'Package Of
Regrets'. They are 3 very distinct tracks, each of which in their own way showcases
an attractive, ear-friendly old-school electro/EBM sound. An honorary mention
goes to 'We Do Not Disturb Our Dead'. This atmospheric, dark instrumental
sounds totally different from the rest of the album (as well as different from
what I am used to as regards Amnistia). In a way, it would have made more sense
if the band would have kept this song for the bonus CD 'Black Halo Encores'
(available as part of the limited box set; soon also digitally), but instead,
it has become the last track of the actual album. Not that I am
With 'Black Halo',
Amnistia has proven that old-school electro/EBM still sounds exciting and
refreshing in 2019. So far, I have heard nothing but enthusiastic feedback and
in all objectivity, I myself can conclude that this is a solid, contemporary
album in the genre.
It was at the Black Easter Festival edition 2016 that I witnessed 2 bands performing who urged me to rush towards the merchandise stands in order to buy any material by them I could find… after 1 or 2 songs already… The first band was our National Postpunkish Pride calles Whispering Sons and the second one was Evi Vine, who came to present her 2nd album Give Your Heart To The Hawks…
They were picked up by festival organiser (and founder of Peek-A-Boo magazine ànd IT-wizzard for Dark Entries) Ward De Prins to play on his beloved Black Easter. That same Ward De Prins came to pass away last year, being greatly missed by fellow music lovers and befriended artists alike. Some of his close friend came tot he idea to celebrate Ward with a new edition of Black Easter, inviting some of the best bands of former festival editions, not forgetting the great 2016 passage of Evi Vine…
Evi and her band will be performing material from their 3rd record Black/Light/White/Dark, but not before kindly answering our questions…
Dark Entries : The first time I saw you performing was on the Black Easter Festival, some years ago, the same festival and on the same location you will be playing (again) on april 20… The second time was a gig for Can’t Live In A Living Room (wich was in someone’s living room indeed)… I understand that you met Ward, the late organiser of Black Easter on a previous Can’t Live-gig…? Is that how you came to play Black Easter in 2016 in first place…?
Evi Vine : Yes, that’s right: we met Ward for the first time through Eddy and Anja who are amazingly supportive beings whom we love dearly and they introduced us to Ward. He was so kind to us and his enthusiasm for the scene was unstoppable and contagious. Black Easter 2016 for us was a time of transitions, GB our drummer had just joined and we were trying out a bigger sound which led us to where we are now with this album….so we are very much looking forward to return to BE 2019 and perform the new material.
Other people came accross your music via Joy Division tribute-album A Change of Speech, A Change of Style, where you contributed with a reworking of Dead Souls. How came this into life? Did it opened some doors…?
EV : We have had some great support from a dear friend & collegue Sven Affeld who was integral in our support tours with Phillip Boa, also NCN Festival. And being asked to contribute to the album havinjg opened doors …? I’m not sure but we have had some really positive feedback. There is a great deal of pressure taking on a track from such an influential band. Working with Danny Nolan aka 'Flint Kids' on production certainly gave it the dark edge .
You also came to sing with Goth supergroup The Eden House (feat. Tony Pettitt from Fields of the Nephilim, amongst other fine names)… How did you end up singing and touring with them…?
EV : I met Tony & Peter (Yates?) at Elektroworks… We were there to see our mutual friend Bob White perform with his band NFD, so the communications started from there … which led to me writing & recording Reach Out, In The Fire For You and The Dark Half with the guys.
In The Eden House you shared vocal duties with Monica Richards (Strange Boutique, Faith and the Muse, solo, …), so you are familiar with each other. She’ll be performing Black Eatser the same day as you… Long time no see…?
EV : Actually we don’t know each other that well. There was a really amazing performance where we were all together but maybe for just one show? In that time Amandine, myself & Valentine toured the first album just the three of us … but we are really looking forward to see Monica performing live again at Black Easter.
To play the Fields-card again: you already worked with Tony and now Peter Yeats (one time guitarist with Fields) worked with you on the single Sabbath, from your new album Black/Light/White/Dark… Do you have any harmless Fields-aneqdotes from them…?
EV : We have been working with Peter Yates for years. We have toured together as part of Evi Vine and of course Peter recorded on the 2nd album Give Your Heart To The Hawks too… We have a few stories but maybe over a beer one day … My lips are sealed! haha …
So we have Peter Yates but also Simon Gallup (Cure) working with you and the band on Sabbath… How come this into life and what was your experience with this…?
EV : Being in a space with Simon was so inspiring as I’m sure you can imagine … He is such a humble guy which makes the experience all the more fulfilling. The discussion to do something together has been some years in the making just trying to get the timing right. We feel so privileged…
The single Sabbath has a heavier sound then we are used from you (next single My Only Son proved to be more old school Vine again)… Also the videoclip has a more heavy pictural approach… The title Sabbath makes me think of a period of contemplation but I heard that the video is all bout transformation?
EV : Transformation / Metamorphosis … Who are we if we don’t shed our skins ... The only reason I can think of for being here is to learn, grow, be more than we were before .. step outside the fear … it’s not always easy … Craig Murray’s work is out of this world… We just adore him…
Would you say that the whole album deals with transformation in some kind or another…?
EV : Yes, I think so … The album is layered like always … The songs deal with the recent loss of loved ones … They pass into new dimensions and we remain … Transforming in the cycle or destruction & rebuilding from within…
Black/Light/White/Dark contains 6 tracks, so people would expect a short album. Wrong, I would say, because you’ll let the tracks breathe… (discuss… )
EV : We didn’t want to have as many constraints this time … We were recording for the first time as a band with Matt Tye on bass & GB on drums with everyone bringing something to the table … There are a few vocal based tracks but the album is not lead by stories this time, so yes > more room for the music to breath…
You and Steve are vegans… I know that veganism has a deep impact on a lot of things that I do in life… In what way and how much does this influences you in terms of your work as an artist…?
EV : I let you leave … Hmmm… to know the difference & the burden it become’s you can’t unclear things, you can’t unsee terrible things once you know you step into a mother level of understanding… For us there is no option…
GB is nearly there too… If we are talking about food then usually the communication works better one to one, as long as people don’t feel like they are being threatened or judged, wich sadly is often the case … Some get very defensive when it comes to the eating of animals/meat conversation. They feel like their rights are being compromised somehow > they trust the system and don’t want to have to rethink eating…We have become accustomed to instead of taking new information on such things they may never have known… People can get very defensive .. They have animal companions, see themselves as good and kind people, have no knowledge of industrial farming practices and have never known to question the system… So defences go up…
You are very weary about what’s happening in the world (politics, environment issues ,… ) and you speak out, being it in your lyrics (examples?) or during mid-concert speeches… As an artist you use your channels… Do you feel that people are open for this, I mean besides the music…? Do you experience moments that the message gets really across…?
EV : Our recent show in Belgium, where you were present, was a very special night > one fueled with emotion… Ward was as a brother to many...He was a dear friend to so many… The music community lost a friend and champion. It was a rare thing for me to feel as I did that night and I composed a spoken work piece reflecting the pain and love present in the room…
During the Living Room-gig I was in the company of a Lady with a lifelong carreer in dancing, also Butoh (a post-war Japanese dance-art, known for it’s transformating potential)… If you would use the skills and experience of someone like that, how would you put it into use…? I did see AmenRa performing with a Butoh-dancer onstage and it was very powerful …
EV : Yes we did met her there and I’m so glad you are reminding me … She was a very charismatic inspiring woman and I would defer to her experience … I’m sure we could create a living working piece with movement both musicaly and physicaly… It could be very important to film this … Maybe something for Craig Murray ??
Looking forward to your Black Easter-gig > what may we expect…?
EV : When we get on stage now as a 4 piece, the aim is to connect with each other musicaly and sonicaly….That’s what we are looking for, The moments where you feel it may explode or take a new direction or improvisation… We will be playing the whole lot of Black/Light/White/Dark possibly for the first time ever and that will be exciting for us to share. Mostly we are also looking forward to catching up and seeing old friends…
Well… see you folks there, for music ànd stories… !!
The first name that was announced for the third edition of Trouwfe(e)st was German act Art Abscons. A mysterious masked man whose music we’ve been following from the beginning. He invited us for a private concert, “Art Abscons in the Green”, at his homeplace in Duisburg last summer. It was a unique experience, after which our decision was made to let this nice man make his debut in Belgium. An offer he accepted very gratefully even though performing on stage is not his favorite part of being a musician. DE: Art Abscons: an artist with a mask. Logical first question: why? What’s the story behind the mask? AA: I believe that there are two kinds of artists. Firstly, there are those who do their art mainly for personal fulfilment. They are usually proud of their own accomplishments and enjoy whatever appreciation, recognition or fame – huge or small – they receive from their audience. In most cases, they enjoy what they are doing, and this is also the reason why they are doing what they are doing. They are expressing themselves through their art. They simply do what they want and, often, what they think their audience wants. A very healthy approach. Secondly, however, there are those artists who are forced to do what they are doing, no matter if they want to or not. Their urge to create art is compulsory. Art is like a spirit on its own that haunts them and that forces them to do whatever art wants – neither what the artist wants nor what they believe their audience wants. These artists do not express themselves; they express something more universal, something that is merely speaking through them. Art is like a Higher Will from a realm beyond that is forced onto these artists, and they are merely artisans who use their craft and their tools to create what this Will commands. For this reason, artists belonging to this second category do not feel personally responsible for what they are doing, and, hence, they are not proud of their works and do not feel that they, as a person, deserve the applause or recognition they receive. I have always felt that I belong to this second category. I have chosen a mask to show that the art I deliver does not belong to me. I am nothing but a tool. DE: The mask is also quite contrary: the scary mask and the lovely music you play. Just like the picture where you're posing with the mask next to children, which I think is a very strong image.
AA: When the Grandmaster came to me for the first time some ten years ago, he communicated the following formula to me: "Good + Evil = Beauty". The world is torn into a thousand shreds by the force of contradiciton. Nothing makes sense by itself, except for beauty – because beauty resolves all contradiction. This is why we need beauty, desperately. Most people do not fathom the abysmal quality of true beauty. They confuse beauty with the nice and pleasant and do not realise how shallow this is. They are numbing their minds and their senses with cheap pleasures. However, you do not heal the pain of existence by distracting yourself from it. You have to face it, immerse yourself in it, analyse its nature and resolve it from deep inside. Beauty is the product of knowledge and understanding. The process is painful – but the more painful it is, the greater is the consolation awarded by understanding. You can see the traces of this process in the Grandmaster's countenance. He has suffered, he has seen life's universal ugliness and yet there is something triumphant in his features, a stange and knowing smile. He has mastered the universal challenge of transforming pain into beauty by means of knowledge. He has eaten the fruit from the tree of knowledge of good and evil.
Children usually love the Grandmaster at first sight even though he looks ugly. I guess that is because children understand complex things more easily and intuitively than we grown-ups do. They instictively know that the Grandmaster is safe and instantly integrate him into their cosmos. I have never seen a child that was scared by him – even if parents were sometimes sceptical in the beginning, especially if they know that their child is usually afraid of masks or easily scared in general. Maybe you will remember five-year-old Vincent who was also at the small gig out in the green last year. When his parents asked him if he had not been afraid of the mask, he replied, "Why should I? Superheroes also wear masks." And I could add that superheroes usually know a lot about suffering, too.
DE: You use an alter ego you named Grandmaster Abscon. What’s the story behind this character? AA: To me, Grandmaster Art Abscon is a personification of art itself – of the ART that haunts ME. I do not know exactly where it comes from. The orders I receive come at night, when I am sleeping. Their source is hidden to me. I call this source "Abscondinium". It is a realm I know to exist. I can see and hear it constantly weaving behind all phenomena of the physical world. I believe that many have tried to describe it. It could be the "Realm of Ideas" in Plato's Allegory of the Cave, it could be the Gnostics' "Pleroma", it could be Rudolf Steiner's "Devachan" or Philip K Dick's "Republic", or, it could be C.G. Jung's "Collective Unconscious". It is all true, I guess, and at the same time, it is not. This realm is unknowable. There are moments, however, in which our material world is drenched in it. This is when magic happens. I love it when that happens. Art's last name is Abscon for a reason. My family has roots in the north of France, in a small town called Abscon. I always loved this word, especially when I learned that, in modern French, "abscons" means something like "difficult to understand". The word is derived from Latin, of course, "absconditus" meaning "hidden". When the Romans invaded Gaul and came to the place that today is called Abscon, it was deserted and hidden deep in the woods. They used it as a secret hide-out and called it "Abscondinium". DE: Last year you released under your own name Tellbach a minimal synth album. Did you feel the time was right to do something else? AA: Yes, I needed a change. I had been working on ART ABSCONs' "The Separate Republic" for five years. This work had been very exhausting. I needed something lighter and easier to recover and to distract myself for a while. I did in fact use Tellbach to narrate some personal stories and to get them off of my chest. I needed it as a kind of psychological compensation, a holiday from my serious work, so to say. But I also used it to learn new things about music production, like dabbling in analogue synthesizers and recording on all forms of magnetic tape. It was... fun. Some of the things I learned from it are coming in handy now that I have started to work on the next ART ABSCONs album, "Nach allen Regeln der Kunst". Art has started to contact me again during my sleep, and I know that the work on this new album will be very exhausting again. I am sure that I will need another Tellbach album to recover from it when it is accomplished.
DE: Alongside the Tellbach you also released the Misty Bywater album on your own Opus Abscondi label. What will be next on OA? AA: I have the very great privilege to release the next Kinit Her album, "Fire Returns to Heaven". I have always loved their music, and this just feels right. This new album is a very good one, maybe even their best so far. I am currently waiting for the final audio master, and then the album will probably be released in April – the CD version on Opus Abscondi, and the cassette version on Brave Mysteries. DE: I just want to show my respect for this. Nowadays you have to be an idealist to release music and me as a music lover are very grateful for people like you. As a musician, what’s your opinion about the future? AA: Thank you. There are many reasons why I stick to releasing physical albums on vinyl, CDs and cassettes even though there are only very few people left who are still listening to physical sound carriers and even though you spend more money than you earn if you release music on physical mediums. Not only do I believe that the latter sound better and that the poor audio quality of music streams is damaging to our physical and mental health, I also know from first hand experience that music streams are virtually killing music and artists. It is not only the financial aspect, but money is an important factor, of course, that can either make art possible or impossible. Recording a good album properly takes a lot of time and energy, but it also requires expensive equipment and other resources. If you only have the sparetime that your day job leaves you to work on your art, you cannot accomplish that much, and if you earn nothing with your art, it will be very difficult to finance all the things that are required to produce it with the money your day job provides you. Music streams have made it impossible to earn any money with music. Either your music is on YouTube or bandcamp, where people are listening to it for free, or they pay for an account in a digital music store. While the latter is very noble, the artists they are listening to will actually only get a ridiculously tiny fraction of the money. ART ABSCONs, for example, is available in various digital music stores, and I can see that my music has ten thousands of streams per month, and yet I only earn about three or four US Dollars per month. I can buy two bottles of beer from a kiosk for this – for albums that have cost thousands of euros in production. All this leaves me very little time and resources for my art. I am not complaining because I know that every aspiring musician today is facing the same problem. The good thing about the internet is that it makes your music available to many people and that it can have great exposure. However, people will have to understand that, if they are no longer willing to properly pay for music, new music will gradually get worse, and good music will become less and less and eventually disappear, simply because gifted artists neither have the time nor the money to create beautiful things – and those who will struggle on anyway will be sacrificing their entire lives and energies for this until they collapse. It is only the big music industry that profits from music streams while minor artists are being eliminated. The conditions for producing and promoting good underground music are getting worse and worse. Everyone who is still investing their energies in it deserves praise and is a hero – and I am not taking about myself – I am talking about people who organise underground concerts, write reviews about obscure artists or host alternative radio stations, I am talking about DJs, but also about those people who will still buy a vinyl record or a CD from an independent artist. I am talking about people like you, in short. Thank you for existing.
DE: Am I the first to say this or did you heard this before: your voice reminds me a lot of Alexander Velljanov. Deine Lakaien is very successful, also because of this specific voice. I would feel very frustrated in this case. How difficult is it to promote your music, because I know you've started your own label because you weren't happy with the labels you worked with in the past? AA: To be honest, you are indeed the first to compare my voice to Alexander Velljanov's! I must admit that I was never really interested in Deine Lakaien, even if I think that they are quite good and that I would probably like their music if I gave it a proper listen, so at least I can claim that I am not trying to imitate Alexander Velljanov. But, why should it be frustrating to me that they are successful? They were lucky enough to get a proper record contract at a time when there was no internet and when the music industry was still functioning and took the fact into consideration that artists also need money to be able to produce art. Musicians who had some success back then will even nowadays enjoy a better status and better conditions than those who have started out to try their luck in the days of the internet, but I know that things have also gotten a lot harder for the older heroes. So, no, I do not envy them at all. I suppose that all times have their own particular challenges, and I am ready to face the challenges of today. I enjoy the fact of being truly independent now with my own label, Opus Abscondi. I can make all decisions for myself – and even if I am not super-famous, my music has a few very dedicated listeners. I am generally more interested in quality than in quantity, also when it comes to the nature of my listeners. DE: You’ve worked with Osewoudt on a track for their first album. Willem Witte, at that time still in Osewoudt, will also perform at Trouwfest with his EBM project Pantser Fabriek. Are you familiar with this project? AA: You know what? I think it has been eight years since I last saw Willem. I look very much forward seeing him again. It was always a very great pleasure to meet him. Of course, I have been aware of Pantser Fabriek. I love it. DE: Which act at Trouwfest you don’t want to miss? AA: First of all, let me thank you sincerely for inviting me to play there.
As for the other acts, since I will be there, I will want to miss none of them, and I am sure I will enjoy all concerts a lot – provided that I will not be too nervous about my own performance. I must admit that, apart from Pantser Fabriek, I did not know any of the other acts until I looked them up. I am not a great scenester and usually so busy with my own music that I am hardly aware of what is happing around me. It is not out of arrogance or ignorance, though. It is especially during my creative episodes that I can hardly listen to anyone else's music because any foreign input will distract me from what I hear inside. But I have looked into all the projects that will perform at Trouwfest, and can say that I look forward to all of them. DE: Last summer you invited 20 friends for a private concert in the green in Duisburg, the place where you rehearse. Thanks again for sharing this magical moment. Is it harder to do a concert like this, or just the oppossite? AA: The worst thing that can happen to me is to get on a stage and sing into a microphone. Technology hates me. It usually all goes wrong. When I wear that mask, I am virtually blind because I cannot wear my glasses under it. I do not see where things are. Damn, it is so dark. I am night-blind on top of it all. I stumble over cables. I might even tip over and fall from the stage. I cannot see which foot pedal I need to hit or what the tiny red lamps on it say. I am drenched in sweat. It is too hot under this mask. Those stage lights are killing me. My left cheek is itching and I cannot scratch it. It drives me insane. Oh no, the microphone stand just collapsed. I hope it did not hit anyone down there and that no one got injured. There is a humming noise from a broken cable. Damn, why does it have to happen now? The battery for the active pickup of my guitar is suddenly empty, too. Damn, it was brand-new. I need to replace it before the next song. That will not look very grandmasterly. Why am I doing this? This is hell. Why the hell did I agree to play on a stage again? I must have been out of my mind when I said yes. I have no idea how many people are out there in the audience. I cannot see a damn thing. Are they all filming this to later expose my misery on YouTube? I think I actually prefer unplugged concerts. Yes, I do. Small, unplugged concerts. Without technology. By daylight. Without cables on the ground. Without a microphone stand before me. You have no idea what you have done to me. DE: Art Abscons is always placed in the neofolk corner, but your style goes further than that. You’ve already worked together with some big names of the neofolk genre (Luftwaffe, Gnomonclast). Do you feel comfortable with this neofolk label? AA: I don't know. I always did what I did and never really cared how to call it or what the genre was. It was mainly others who have put me into this corner. I am both grateful and annoyed by it. I am grateful because neofolk has been a genre that permits many artistic liberties, offers a very interesting framework and because it is a highly intellectual scene that has been very faithful and loyal to its values and to its artists. Without it, I would most probably be nothing. Or at least, hardly anyone would care for what I am doing. However, at the same time, I am sometimes annoyed by the artistic restrictions and the very narrow expectations that such a categorisation can impose on you. Some people will hear strummed acoustic guitars and windchimes in my music and see runes all over my artworks even if there are none while others will comdemn my music especially if there are no strummed acoustic guitars and windchimes or runes all over my artworks. Yes, my music is different from what is generally referred to as neofolk. As I have said earlier, I do not do what I believe a specific audience expects. I do what I have to do. If this mainly appeals to neofolkers, I am okay with it. DE: When I published the flyer for Trouwfest you’ve said it looked very ‘German’, of course because it’s in the style of our headliner Wappenbund. Do you feel you have to compete with the prejudices that are related with the neofolk genre? AA: What is traditionally referred to as neofolk often purposefully polarises by treating a specific part of German history in a highly artistic and ambivalent manner. This approach is often highly intelligent, and I find it very intriguing and thought-provoking if it has great artistic quality and does not follow a one-sided political scheme. All of it just does not happen to be my topic. Everything that characterises ART ABSCONs lies beyond everything else: beyond space and time, and most certainly beyond politics, or, history. ART ABSCONs is all about magic and the quest for knowledge. The impression that most people outside of the scene have is that neofolk is nothing but a glorification of fascist ideals – which is, of course, even true to a certain degree. There have been several people thoughout the years who have personally accused me of being a right-wing extremist, just because they have googled my music project, stumbled across a term called "neofolk" and let their fancy guide them. I am not interested in strengthening this connotation with my music since it is not a part of it. DE: I remember on Facebook you’ve participated in some kind of ‘book-challenge’. As holidays are coming closer, which book do you recommend to put in our luggage?
AA: All of them. I am currently reading a book by Maria Renold that is called "Intervals, Scales, Tones and the Concert Pitch C = 128 Hz". I can recommend it if you want to be totally confused and then wish turn the world upside down by means of music.
Thank you very much for the interview. Credits pictures: picture 1: Pantalaimon Fotografie , foto 4: Sebastian Pichard
We still remember the second edition of the Black Easter festival in 2016, due to Jo Quail's concert. With only her cello (and an ingenious loop system) she succeed to win quite a few new souls. Organizer Ward De Prins had a good relationship with this British artist, and did not mind traveling to see this fantastic performer play. Therefore, it's quite logical Jo will be back at Black Easter, in memory of Ward. A conversation about her music, but also about processing the passing of a mutual friend.
DE: When we heared there will be a new Black Easter Festival, in honour of Ward De Prins who passed away last year, it was just unthinkable you were not on the bill.
I know Ward was a huge fan of your music, and he travelled often to England to see you perform. He had a special bond with you, so how do you remember Ward?
JQ: Ward. I always think of his warm smile, his joy and passion for music that seemed to run through his veins, and this passion he shared with everyone, he was an inspiration to me. And I can immediately recall his giggling laugh! And his knack for turning up unexpectedly to some of my concerts, not just in England, and me telling him off for not letting me put him on the guest list! That was Ward to me, a treasured friend, a loyal friend, a friend I miss very much, and a friend I celebrate on a daily basis.
DE: Ward’s death came totally unexpected. How did you hear the news, and what was your reaction?
JQ: I had a call from Eddy, our mutual friend, when I was in Glasgow on tour with Amenra. I remember hearing this heartbreaking news and looking at huge grey skies outside. I felt I couldn’t understand what was being told to me, it just didn’t make any sense. Strangely, it was only when I began to play that night that the overwhelming fact sank in, I think because I was playing music, and music was Ward’s passion, and that was the point at which we met. When I played that night, I played for Ward.
DE: On this year’s Black Easter a lot of artists who played one of the two previous editions will perform again. Honestly I must say your show is the one I’ll look forward to the most. I still remember the show you gave in 2016, it was the first time I saw you live and I was really impressed. How did other people react to that show?
JQ: Thank you! I’m glad you enjoyed the show. People seemed very enthused by the performance, and it was a privilege to play for you all. I performed ‘Five Incantations’ that night in its entirety as I’d just released the record, so it was an unusual concert for me. Normally I explain a little about the pieces before I play them but that one ran straight through from the first note of White Salt Stag to the last note of Gold. I’ll have a different set for you this time!
DE: Sieben will perform before you at Black Easter this year, you and Matt are both involved in Rasp, can you tell a little bit more about this? And is there a possibility there will be a collaboration on stage, as Matt does the whole looping thing also with his violin?
JQ: There’s always the possibility of a collaboration, though it might not be this night! We’ll see how it pans out. Matt and I very much enjoy working together but we both have very full schedules so opportunity does not often present itself. With Rasp, we wanted to make a record together, but had no time to write in a conventional way, so we decided to write and record a largely improvised album, in front of a live audience, and the result is this record! We are both huge fans of improvised music, and also collaborations so it was a real pleasure to make this record together. And a huge amount of fun too!
DE: What do you have in mind for your show at Black Easter this year?
JQ: I’ll be playing a brand new track for you, Reya, which is due for release in the summer, and at least one or two from Exsolve, my new record (thank you for your review!!). It depends on how the time goes but also tracks of course from Five Incantations and Caldera... we shall see. Whatever I do, I cannot wait to play for you!
DE: When people see you on stage, there’s just you and your cello. But with your unique looping technique you’re able to set up a very special and intense atmosphere on your own. Can you tell us a bit more about your way of composing and playing, and how did the idea came to mind to work with the loops?
JQ: I usually have a broad aspect that I’m exploring musically, whether it’s sculpture, art, poetry, sensation, experience, landscape, it all serves as a springboard from which to start. Practically speaking, my pieces are usually borne of a single theme which can be very small, three note motif, or a particular sound. Five Incantations, the entire album, is interlinked by one theme of three notes, the whole thing was built musically around this, whilst exploring the cardinal elements of earth, air, fire, water and spirit. In Exsolve I’m exploring both the more physical aspects of playing cello and creating, and the ‘known unknown’ processes involved in creating, as such it’s an dive in to the depths of where my particular creativity stems from, what runs within me. It’s also an aural representation of the turbulence that engulfs the writing process I’d say 80% of the time, and now and then the mists clear and you see the vast distances with clarity and certainty.
I began looping when I began my career as a soloist, in 2010. I started with a single loop of 14 seconds in length... and even that was enough to let me hear the possibilities afforded by this technology. I now use the Boss RC300 triple loop station, and I spend a huge amount of time modelling my sounds and effects in order to get that breadth of sound you’re mentioning in your question. I usually begin my writing with a ‘clean’ sound, unless the piece has stemmed from a particular sound effect of course. Once it’s harmonically in place I’ll then start the fun process of ‘colouring in’ and seeing what form the piece morphs to as I begin to work with the effects chain too.
DE: All of your albums are self-released. Is this because you want to keep complete control, because I really can’t imagine there’s no label interested??
JQ: I’m very happy to self release, as you point out it gives me complete autonomy and I like to make my packaging as special as possible too, which might not be something a label would allow for budgeting reasons. I’m not adverse to working with a label but there honestly has not been any interest, I guess I’m a bit difficult to categorize so perhaps that puts them off! It doesn’t matter to me, I’ve managed thus far as a self released artist and I would recommend it. You do have to be very well organised though, and you do need some form of income as it’s not cheap, but on the other hand 100% of album sales come back to you, and in my case go in to the pot to make the next release.
DE: Alongside music, you’re also inspired by visual arts as I read the biography on your website. Also an example of stunning visuals and one of the most beautiful band sites I’ve already seen!
You cite Barabra Hepworth and Georgia O’Keefe as key influences. Did you already linked songs to a specific piece of visual art?
JQ: Funnily enough ,the brand new one I’m going to play for you, Reya, is the fourth or extra track on the vinyl release of Exsolve which will be released in the summer. Reya is actually the closest I’ve got to ‘realising’ the concept if you like behind Exsolve, which was the work of Barbara Hepworth, and in particular ‘Single Form’ sculpture. The funny bit about this is that this concept and image was behind all the rest of the album tracks, yet I only feel now, on this ‘extra’ track that I’ve actually got close to the depth, the raw power of her work, coupled with the overarching majesty, the placement, the scene, everything combined. I can’t really describe it. I hope you’ll like it when I play it!
Georgia O’Keefe’s great quote along the lines of ‘I went as far as I could in charcoal, then I added blue’ is a great reminder of what can be achieved with a comparatively simple set up, ie, don’t over complicate! In my case, don’t loop because you can, loop because you need to, add sonic colour because you need to underscore a musical point, and you cannot do this any other way, don’t do it because it’s ‘there’ and waiting to be used.
DE: You also a much asked artist to collaborate with. I guess they’re all special, but which collaboration(s) will always very special to you?
JQ: I love all my collaborations! It was a joy to work with Eraldo Bernocchi and FM Einheit, that was a great experience and we made a fantastic record, Rosebud (Rarenoise). I’ve worked recently with Poppy Ackroyd on her latest release ‘Revolve’ (One Little Indian) and that was a huge amount of fun. Rié fuis an artist I recorded with and her album is being released today (15th March), which is stunning. Check out Mirror.
There are several ways I collaborate, I’ve got one on the go at the moment with a fantastic Canadia singer and we’ve literally started from scratch, sending each other tiny snapshots of sound that we will build in to a track over the next few months. At other times I’ve gone in to a situation where there is a skeleton, or even largely developed track (such as the one I did recently for Don Anderson Aggaloch) and I’m asked to ‘do my thing’ on it, and so I do!
DE: One of your strengths is also that musical borders are crossed to create a complete new soundworld. This is (neo)classical music, but not as we know it. It has electronic elements, and even references to post rock, ritual and metal music. A purist nightmare! I hope those purists didn’t cross your way often, or did you already convinced some people to stop their narrowminded thinking?
JQ: I’ve never met any of these purists you speak of! Very glad about that. In my experience my audiences are very broad minded and whether I’m playing to a metal, prog, classical or contemporary crowd, with the same repertoire (just at varying volumes usually!) its met with enthusiasm and encouragement. I feel very very lucky indeed to meet such fascinating people from all tastes and backgrounds at concerts.
DE: You’re also a parent, in a previous interview for Peek-A-Boo Ward asked you how to combine that with being on tour. I also have a 9 year old daughter who started drumming recently, so I was wondering if your daughter is also interested in making music?
JQ: Drumming, that’s awesome! Tell her to check out Niki Skistimas, (Krash Karma) , she is incredible. My daughter seems to really enjoy playing piano, and recorder too. When I am practicing and writing at home she will often pop in, put my headphones on and start and stop the loops, she knows her way round the RC300 now! The other day she said ‘Mummy, this piece needs more water’ and I knew exactly what she meant! I am blessed with this little one. She also loves dancing and science and lego. And tree climbing!
DE: A question I hear a lot is that people want to get into (neo)classical music but don’t know where to start. With your knowledge I think you’ll be able to point some “must-heards”...
JQ: I actually just stopped this interview to take a call from a friend of mine Damian Iorio who is a conductor, and we discussed your question! In its ‘classical’ interpretation we’re talking about a period of time beginning around 1920 ish. For Damian the piece that sums up the neoclassical movement is Stravinsky’s opera ‘The Rake’s Progress’.
I tend to direct people to the Rite of Spring (also Stravinsky) but this is a bit earlier than the neoclassical period, however it is a very important work for several reasons. On the other hand, the term can also be loosely applied to anything that is modern ie of today, but with ‘classical’ influence, so therefore sometimes what I do is termed neoclassical, though obviously it’s not part of the traditional meaning of the genre of neoclassical that was defined by a particular time line! I think neoclassicism as a subgenre if you like is pretty prevalent in all ‘main genres’ of music, and as such it could imply longform composing, aspects of serialism in music (looping being one example), bringing strings or ‘orchestral instruments’ in to the performance stage, and crossing perceived boundaries in terms of texture and timbre and style.
These are not ‘neoclassical’ but they are pieces I enjoy from the repertoire that is not metal or rock etc, see what you think:
John Cage ‘In a Landscape’ for solo piano is beautiful, that’s from 1948 I think. This uses a very simple technique on the piano that comes to the fore right at the end of the piece, just allowing the harmonic overtones to reverberate out, no actual ‘front end note’ but you need to play or hear the whole piece in order to get this effect. It’s really cool.
There’s a lot going on in the piano world at present. Have a listen to Joep Beving, beautiful playing and composing.
George Crumb’s ‘Black Angels’ is a pretty pivotal piece too, using strings and extended technique with amplification. It’s also structurally quite involved too, multi layered really and I find this very inspirational.
Gregory Rose’s Danse Macabre, premiered in Tallinn in 2011 is an incredible piece of music, please listen to this if you can!
The beautiful thing about music today is the ‘permission’ to be artistically free in expression, and the natural coalescence of previously distinct styles or genres. These new, bright colours and sound themselves inspire creativity, and it’s a constantly turning wheel. I love it.
DE: And we love Jo Quail! See you at Black Easter!