Scry Recording Artist- Pathogens Interview is up
1. I know very little of the project minus this album I got from Earsplit "Soiled Cogs Forever Grinding". Give me a bit about This Noisy Blackened Death Industrial Project?
Well... I have always felt emotions deeply and intensely, and see music, both listening to and creating, as a cathartic and spiritually cleansing outlet, a way of channeling these emotions constructively. I've been playing drums, synthesizers, and keyboards since I was about the age of 15, and have always made music in one form or another. My first experiences listening to artists like early Godflesh, early Swans, early Scorn, Napalm Death, Skin Chamber, Test Dept, and numerous other artists, I thought "this just sounds right." I felt the power, the dark and uncomfortable subject matter and overall feel, and I wanted to create my own version of these influences.
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2. Love the Broken and Distorted Samples, Synths and odd Fractured Rhythms how did this call come to be - do you have a theme in mind or does a tone or feeling start it all off?
Good question, l usually start with a harsh loop or sample, and build a rhythm from that. The typical order is drum or synth loop, additional percussion, sheet metal, power tools, and found objects layered over the primary rhythm foundation. From there, bass guitar, electric guitar, feedback, and vocals last, at least two vocal tracks for each song. I'm a big fan of tension in my music, and enjoy making the experience immersive by forcing someone to commit to a lengthy and slow building piece in order to reach the end. I want my music to engulf and consume the listener, to feel claustrophobic and dangerous, powerful and destructive. I definitely have many favorite artists and songs that would be considered more approachable and mainstream by most, but my current project is really just the manifestation of my current emotional state. As my state of mind changes, I imagine my sound will change and adapt accordingly.
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3. Aesthetics and Visuals must play a large role in the live show. How does a live show differ from the studio recordings?
Whenever possible, I always opt for an all-encompassing and cohesive experience, which includes a visual and aesthetic component, as well as the aural aspect; what people are hearing. During live shows, the goal is to engage the audience by placing them in a dark world in which I've created. I do my best in the studio to recreate the intensity of my live shows, but that is basically impossible. I, as I'm sure most musicians and music lovers are, am drawn to live performances because everything is so raw and spontaneous and personal, it feels like you're connecting with the person on the stage more so, and vice versa. That being saId, listening to music on a good pair of headphones or speakers at home with minimal distractions can be a great way to really take in every detail.
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4. Scry Recordings and Black Horizons- how did you come to work with them for “Soiled Cogs Forever Grinding”? Is this going to be an ongoing partnership or just a one-off?
I certainly hope this will be a continued collaborative process. I have considered Joy and Masaaki to be dear friends, and have known them for well over a decade, which really helps to establish a comfortable and supportive creative relationship with a record label. For someone that views the music we make as a very personal and cathartic experience, I am grateful for Scry Recordings having pushed me to share my vision with an audience. As for the Black Horizons label, I got to know James after seeing him play a live show for his solo death industrial project titled SOOT. I was blown away, and knew I wanted to befriend him. Since then, we've played live together, and I am honored to have Black Horizons as one of two great labels releasing my music.
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5. If someone was to ask you for just 4 words to describe Pathogens for a person going to see you live what would they be any why?
Only 4? Brutal! Well... these four words definitely come to mind as accurate descriptors:
1) Scornful
2) Depressing
3) Bleak
4) Crushing
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6. The cover is almost sinister and inviting at the same time for “Soiled Cogs Forever Grinding”. How does it tie into the theme of the record?
I left that to James, and totally trust his judgment. After communicating with him for some time, I realized that he also fully understood my vision, and his feedback and ideas have always ended up working. The black and metallic look of the album definitely reiterates the dark industrial feel of its content. Zach Wise used photos I took of a demolished building, all bent rebar and broken concrete, &the image of a skull, and created the design for the album cover and sleeve. I love the finished product, an image that reflects the organic and human assimilating with the metal and manufactured.
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7. Seattle is an interesting city musically and sonically over the years is there still a thriving scene there. What stand out artist from there would you like my readers to check out and support?
To End It All, Caligula Cartel, Glacial, Eye of Nix, Hissing, Ox Hunger, Kihalas, Bacillus, Lye Feast, and so many more that aren't coming to mind at the moment. Sadly, it feels like a lot of avant-garde music is dying out as it becomes increasingly sparse, and Covid-19 isn't exactly helping in terms of live shows and productive studio time. Most of my friends and acquaintances in the music scene have moved, stopped making music, or have passed away, which is awful, but ironically, its emotional devastation that fuels my creative output.
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8. I would love to know about previous release (Tape, Digital etc) as this is the 1st album to come my way I believe? How do they differ from Soiled Cogs Forever Grinding and where can we find them?
The style of everything I've done up until now has always been cut from the same cloth. Some material is more minimal and less rhythmic, and some is an all-out sensory assault. This is basically my first "public release" so to speak, but there will definitely be more to come now that I can finish and release my back-catalogue of previously recorded material using updated hardware and software. I have never in my life felt more inspired and motivated to make music.
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9. For an extreme Noise and Harsh industrial artist like yourself how does things like (Soundcloud, bandcamp, Youtube, Podcasts and Social media ) expand or change the game for Pathogens?
Considering how niche the genre I feel Pathogens would fit into is, I ever expected a huge fan base, but over time my desire to keep my music personal gave way to a desire to get it out into the world for public consumption. I enjoy printed physical media, but online downloads are many times a more reliable and cost-effective way to publicize my music.
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10. Has Pathogens always been solo and what gear do you use to record such projects?
Yeah, it’s always been me basically, I have a very clear and uncompromising vision in regards to my music, so having full creative freedom and control has always been my preference. I'm not against the idea collaborating with other artist(s) if I cross paths with someone I have a creative connection with. I have started using Mixpad multi-track mixing software, and its opened up a world of possibilities,
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11. Is Pathogens your sole project if not tell us about the other creations under your belt?
I have collaborated with other artists in the past, but Pathogens has basically been my only project in terms of actual out time period even with that said, in my pieces of till now have been very limited due to restrictions that limited the full potential that I saw in what I was doing. I have just started a new solo project called Rising Plague Incinerator, and will be releasing my debut soon!
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12. Do you feel longer track are needed for a style such as Pathogens or is it just whatever makes the track feel right once completed?
It's hard to imagine a Pathogens song being under 10 minutes, considering slow building tension is what I go for with my music. My music has no real monetary or commercial value or potential, but that never has been and never will be the goal. For me, this is personal, and highly therapeutic process and experience.
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13. Your samples are very twisted. Do you get a lot of negative feedback or is it all just a part of Pathogens process?
There is no doubt that my music is triggering for many people, and that's the intention. With this particular project, the goal was never to make people feel comfortable. I have had people cry, look away, walk out, and tell me that I should kill myself, which only confirms that what I'm doing works.
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14. Thank you for the time and any closing thoughts here.
Nothing other than gratitude for the opportunity to tell the world a bit more about myself and my music, cheers.
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