Interview with Sofy Major

Sofy Major are great,...lets say noise hardcore band from France. Lot of things are going on theese days in SM so we decided to present you theese guys. Interview by Nenad

 

HC: In this issue we have an interview with a guy who said that he looks at the noisecore as more intelligent, and more mature than other kinds of hardcore subgenres. What is you oppinion about that.
Manak : Saying that kind of stuff would be too discriminating... How can you judge that a kind of political music (or non-political) is more interesting than any other genre ? I also listen to crust stuff, sludge stuff, punk rock stuff, folk stuff : I don't feel dumber ! As
you know, each music has its own way of presenting feelings and of spreading political ideas. All those musics are just Punk Rock and Punk Hardcore... You know I've already heard some Folk stuff which was more radical than any other crust punk band huhu... If you talk about music, I just think this is a different approach of Hardcore, not usual and not "natural".
Bastien : Why should some kind of music be more or less intelligent than another ? Every kind of music or hardcore is different.
Seb : I don't care about that. To me, that is bullshit, how can someone say that...

HC: I asked you previous question because you play "noise hardcore" and maybe you can give me argument why you choosen that way. Of course you have screamo, emo, sludge influences…
Seb : I really like Noise Hardcore, but I listen to a lot of other musical stuff.
Manak : Yup, when we began playing together with the first line-up, we used to play what we could now call Screamo Hardcore (Bastien doesn't like to call things like that). I just think we love that music more than any other, it's just a question of feelings, I think it's the best way to spread our main ideas for now. As I told you, none of us is narrow minded. As far as I'm concerned, I listen to several kind of musics (except Ska, Reagga and all that hippy stuff huhu), but I love to play Noise.

HC: When we talk that you sound walks between many genres can you explain me track "Stalk" because it is the most different of all tracks on this release?
Manak : It's our friend from our town, Gheat who's playing in a one-man-band called Stalk : something between Post-Rock, Electronica... We really appreciate the man and his music, it's an old friend of Bastien so... How could we give him such a better tribute ? He also did all the additional effects on the EP, between all the tracks. That guy is really incredible, and I'm glad to know him, I know his music is pretty far from ours, but we have the same feelings, the same political ideas, he could have been part of the band.
Bastien : Stalk is a friend of us who used to work in electronic music, he made sound between our tracks . We really like his sound , and he's a good friend so naturelly we work together. Check his page http://www.myspace.com/pilipstalk .

HC: Maybe you can explain concept of this EP, because it looks like all tracks are connected and represent one bigger picture and impression.
Manak : We didn't prepare anything, except our tracks for the studio. I don't think we had a concept, the only line I wanted to follow with all that EP was to make people feel our vision of humanity : the most disgusting thing in that crappy world. I didn't have any additional concept in my head when we released that CD and that vinyl, Maybe the others thought about something, but that wasn't my case.

HC: The CD cover of EP is brilliant. Who did it and how different it is form vinyl cover?
Manak : It's a friend of mine, called Jüül (http://mnarog.free.fr). He began to draw some gig posters for me about one year and a half ago. He always told me he never had any talent, but since he began drawing stuff for the shows I promoted in my town, some eople contacted him, asking if he could make some posters for their own shows or for their own records. Since that first show (I think it was Daïtro / Sofy Major / Le Massacre du Client de 15h), I think he has drown dozens of posters and released about 5 or 6 record artworks, including ours. We were so fucking happy when he told us he accepted to draw our artwork, and I think he was too. I met him 5 years ago in a parisian underground, we were drunk and playing Black Metal... The vinyl cover is the same, the CD's inlay is just pretty different.

HC: Interesting thing is that vinyl cover includes DIY mini zine. What is it about? I think it's not about music but more activistic, art and politicly and socialy engaged. Am I right?
Manak : I've always been pretty radical concerning politics. In fact, I had this idea when I was promoting shows in a squatt located in my hometown : when people got there, they didn't care about the political involvement of that place, so I decided to write a little text, to give it to the people who came in the squatt. They've never understood... France is quiet different from the other countries in Europe... It's more about art than political involvement... I decided to copy it and to put it in our EP, in fact I just copied a hundred of those texts, so it's a kind of "limited edition". I stopped to put those inserts, because I understood that we were five people in that band, we have a common political line but our feelings are sometimes divergent if we talk about special subjects. There are two veggies in the band, some of us are really next to anarchist movements, and some just think about art and about DIY. But I really think that JUST "making art" is also a kind of political action. I also think that being involved in squatt and more radical movements is essential. We take so more pleasure to play in little places, without stage, with nice people... I had my best shows in places run on a communal basis. I met my best friends during squatt shows. I think politics is a part of our music.

HC: Now I remembered. The elections were just few days ago and right wing candidate won. What is you oppinion about that?
Manak : Majority among us didn't vote. We all have shitty jobs, some of us are also studying... I don't think that the act of voting is something good : left wing is the same as right wing, except that left wing is hiding its fascist face. The problem is Democracy, not right or left wing, if radical left wing passed, I really think the problem would have been the same : there would have been misery in the streets etc... I just regret that people here didn't react with much more protest... There weren't so much riots (hahaha Bastien...). I fucked my vote twice.
Bastien :: My opinion : fuck that shit ! I'm not for the act of voting and I don't believe in it, but I think that Sarkozy is a kind of Bush-like and we're preparing ourselves to live in a fascist way during five years but we'll keep our fist in the air !
Seb : French people voted for a man who's avid  of power, he's also one great friend of that Bush asshole. You know, we've been pretty fucked up and we're waiting for his first new laws with a lot of apprehension.

HC: I forgot, from which part of France do you come from? And how does you enviorment effects your life and music?
Bastien : We come from Clermont Ferrand, in the center of France. An industrial city. Some of us work or study or make the revolution by killing old people. We try to make our days better than the crap we support around us everyday..
Manak : It's a 350.000 inhabitants town, if we count the suburbs. That city is pretty curious, it has always been a left wing town, because there were many factories here, mainly working class people. We live between volcanos, I'm glad to live there, the countryside is not so far. DIY gigs have always been booked here, we have few squatts, but that is pretty new. Some of us live in a town called Lyon, about 200 km far from here, it's also a great moving city (but with more police...), with great bands etc...

HC: Do you have some kind of youth centres that support young people to express themselves? Do you have support of you local authorities /town council, NGO, etc/?
Manak : Nothing. And even if we could have some support, I don't think we would accept. I don't want my music and my opinions to have relationships with those institutions. It's not my ethic. The main problem is that local authorities will never help Hardcore / Punk / Noise bands... In france there are not any youthcenters, people always say that french culture is so "mature", but in fact, contrary to Germany, Scandinavia, Benelux, that is absolutely not the case... Squatts are being kicked out, there are not so many places to play in... That's really difficult, so we just try to build our own stuff..

HC: If you make tribute songs, what band would you choose and why?

Manak : haha, that's funny you're asking that, we're going to record a tribute song for a band called Tantrum. I have much respect for those guys... Noise Hardcore heroes from Montpellier.

Bastien : I've always wanted to make a tribute to Def Leppard but I guess I am the only one in the band who want to do that

HC: What do you think about MTV(2) bands etc. Does mainstream necessairly means bad?
Seb : Not necessairly bad. But I just prefer indie bands who are not looking for money and glory... Just for the pleasure to play music, to meet people...
Manak : I don't think mainstream means bad. Some mainstream bands manage to play nice music, that's quite not the point in fact... I think it's so far from my ethical and musical way of thinking. I don't watch television, I don't care about those bands, that's not my world. I just think they're making people more stupid than they already are (including me... that's why I stopped watching that huhu)

HC: Of what release are you assamed of and you have it in you collection :)?
Manak : A friend of mine gave me a mixtape with about 30 crusty songs, they are all good except one which sounds horrible... each time I listen to that tape, I try to "fast forward" this song. And in my "official" discography... I don't know... I have a Stevie Wonder LP between a Snowblood and a Sunn LP... I fucking love what he does huhu !
Bastien : I'm proud of each release I have in my discography even my Kiss records.
Seb : Hahaha, I don't know, maybe that old Rancind / NOFX split which I used to play freesbee with. Or maybe some Choking Victim stuff.

HC: Let's get back to Sofy Major. What it is? Is it a personal name or some kind of medical term, or some kind of…what ?
Seb : ... of monster.
Manak : That is a kind of personnal name. I'm not a former member, I can't really tell. Jules, the first guitar player took the history of that name with him when he left the band... Bastien have an explanation. For me, it's just a kind of « Horsewoman », the fifth one of the Apocalypse which will decimate Human Being. Sofy Major means End of Being.
Bastien : Sofy Major is the girl we never want to meet for the reasons Manak told you.

HC: Is there any chance for you to visit Balkan countries, cause here there is a bih hunger for that sound you play.
Bastien : Are you inviting us ? When you want dude !
Manak : That would be a pleasure for us to get there. Maybe for our next recording, I don't know... Some of our friends got there when they were touring, it seems to be a nice place to play.

HC: When we talk about Balkan countries, have you heard about Analena, or Entreat that had some European tours and play something like you do.
Bastien : Sorry but I don't know those bands, but when I played in Slovenia with my old band we toured with a croatian Oi! band called Tito's Boy's, that was pretty good.
Manak : That's funny you talk about Analena, I really appreciate that band, as a matter of fact, it was the first gig I promoted... I don't remember, maybe it was two or three years ago. Unfortunatelly the band cancelled its tour... It was Analena with Sons of Saturn. I'd really like to see that band live !

HC: Before the end I think you should say a little biography to remember.
Manak : I'm the bass player of Sofy Major, I also do some back vocals. Sofy Major was born in 2005, we released one 12" and one CD, which can be described as an "EP" (not to say a "debut album"), we've toured across France last april. And we're going to record a 10" split with a french band called One Second Riot (some kind of Noise, you should listen to it, they released a split with Neptune). We're going to tour again in western Europe in october / novembrer, then record our first album and make a bigger tour across Europe.

HC: For the end. Did you achieved everything you wanted with this EP, did you say everything you wanted just for now?
Seb : Record stuff and come to Balkan countries !
Manak : I've always had pleasure (and stress with that band), I'm totally happy to play with friends I love. I think I've always done what I wanted with Sofy Major. This band is a part of my life. To finish : play music, play loud, play fast, involve yourself in politics or not, but always try to protect your right to MAKE CHOICES.

Project info The Vault

I started this project in 2005 for experimenting the dark side of the electronic music. I'll try different avenues from Dark Ambient to Death Industrial, Power Electronic and Rythmic Noise. I'll also explore different aspects of the occult and human sickness.
The Vault symbolized how a person can withdrawal into oneself and the oppression of mental sickness. It also represent a solitary confinement, a hiding-place in our mind to hide ourself from the rest of the world.
I'm into metal music since 15 years now, so i want to experimente something else. I'm listening to industrial and noisy stuffs since a while but i never had the time or the guts to cross the line and do it myself...So now, there is my shit and I hope it will give you a good headache!

I will soon release my first CD-R on NOIR SERIES, an extreme subdivision of the Portuguese label VOID REKORDZ. It will be a limited edition in a DVD size box.

Band info Rickettsia Tsutsugamushi

Now existing on ruins of N.U.R.S.E. and it's out of hand evolution. Material from the last gorenoise phase of N.U.R.S.E. is simply taken as signature of this new autonomous entity. Shameless exploration of human flesh deterioration principles and taboos concerning the body, or the malignant subtleties concerning the demise of it, are the sole purposes of RICKETTSIA TSUTSUGAMUSHI. One completely useless, fetid, surplus collage soundtrack for your own displeasure.

Band info Duet for Theremin

Duet for Theremin and Lapsteel is Scott Burland on Theremin and Frank Schultz on Lap Steel. The project came out of an Eyedrum improv group performance at The Contemporary. Although we were both there, we never did get paired up to play together and thought that it would be an interesting pairing. Performances and recorded tracks are improvised. Feel free to download and share the music. www.myspace.com/duetforthereminandlapsteel 

Interview with Cities in Desolation

CiD are Greak/Swiss noise/industrial duo. We had a chance to talk to them after the gig they had in our town Nis. Let's hear what they have to say. Interview by Nenad

 

Lets start with the most actual thing, your tour you've just finished. It lasted for about two weeks. Where have you played and what were the impressions? How you liked gig in Nish where we met?
it was slighlty more than 2 weeks. we started in instabul then we played at sofia, skopje, nis, pancevo, split, ljubliana, udine, castelfranco where we said goodbys with eric (hermit) and on our way back we did one more concert in thessaloniki. it was a great time, fortunately we also had a few days inbetween the concerts to enjoy our surroundings.
The gig in Nis was fine, in particular the people who organised it and the ones who we met. The place where we played was nothing really interesting ofcourse; but that's something to be expected in small cities. All in all, all three of us were very happy to have played in nis and  travelling through serbia.

You travel a lot and CiD played in different countries. Are there any differences between playing for example at Turkey, in Serbia or Swiss?
Yeah fortunately there are still differencies. As things go all places tend to become the same; a no-place full of advertisements, coca cola, lost time and fragmented space. But still there are differencies, especially in balcan countries like bosnia, serbia, bulgaria or macedonia. Things are somewhat less professional (with its good and bad aspects) the people who come in the concerts are usually few but very much concerned about the music (in contrast with places like germany or switzerland where sometimes the people seem saturated with new music and many times they come in the concerts but they don't really bother to listen).  

What were the usuall and unusuall places you played, squats, exhibitions,??
We played mostly in squatts and social centres. But there were gigs in clubs (like the one in nis for instance or another in turkey) and we also played in a sort of gallery in pancevo. We don't have a lot of control over the places where we play especially in small cities, we trust the good taste of the people who help us to make the gig, sometimes it is hard to find anything else apart from small clubs or bars.  

You are from Athens and Ruedi is for Swiss. How did you met and started to work with CiD? What was the connection and common with you too?
We met with ruedie nine years ago and are friends since then. Ruedi spends a big part of his time in greece, we actually live together in athens and we used to live together before ... so playing also together just came naturally.
We started making sounds in the studio of our squatt back in 2002 working as a trio, together with cellist yiorgia. After big gaps, travelling etc we ended up as a duo and changed also our sound a lot.   

Since Ruedi lives in Swiss and you in Athens how often can you play?
As i said above ruedi mainly lives in greece. That is he is in athens for 5-6 months every year. But we don't actually play a lot, since there is a lot of travelling, work and other things inbetween us, we ususally first arrange some oncerts and then decide to go in our studio and start playing.  
 
Is you music/noise a result of moment inspiration? I know that you recorded your tracks live but do you record your stuff in studio or something like that?
Not really. We usually start with some ideas (either some sounds, loops or bass lines) and we improvise on them, keep what we like, play again etc. We try to record  stuff that we prepare for lives in studio. The result is not the same of course. But quite close: when we play live it is  part improvisation but there is also a structure and laying out of sounds which we try to follow.

In show in Nish you used laptop, effect petals, bass, some kind of pots and screwdriver I think, and metal-glass objects. What else you use to create the atmosphere?
In this tour this is more or less what we use indeed. That is, a laptop with 2 effect petals, bass, contact mics, metal and glass objects, amplified coils and mic. We use verious instruments/objects when we have access on them, like strings, synths, more effects but when we are on a long tour through trains we try to be sensible and carry only the absolute necessary stuff - which was also too much!

It looks like the Greese noise scene is well developed. I know about bands M5x6, Migra, Distopia and labels such as Poeta Negra, RottingHam and Violex. How noise and experimental performances are frequent? How well connected are you?
well, is it? i don't know. for instance i don't know m5x6 or Migra. Same goes for RottingHam and Violex labels. first time i hear about them. to be honest, i don't really look for connections with just anybody who does noise or experimental music and comes from greece. what i do look for is people who deal with their music in an underground, non-maistream way. When they also come from greece and they are into experimental music then that's even better. But for me, the way you deal with your music is more important than the actual genre you happen to play. For instance i am closer to some guys who are into noise techno and we see things more or less in the same way, than with various experimental artists who regard their music as a product.
Experimental concerts are frequent ideed the last 4-5 years. BUT, it is mainly in fucking clubs and art houses as experimental music is becoming a posh new thing for the art world. Small diy concerts with noise music happen much less frequent. In fact in athens we (as a company of people) are the only ones who do it on a regular bsis and there are people as well in thessaloniki and kavalla. i hope soon there will be also other people involved.

It looks like your label 1000+1 Tilt is pretty productive. You released 9 compilations and numerous releases.
yeah, i keep on releasing stuff that i like, at times seems pretty futile though.
 
How do you pick bands that you release and what is advantage and disadvantage of having your own label?
1000+1 TiLt started as a label for releasing music from people who had no previous release in any other label and they were not interested in any major contracts. so the idea was mainly to help people reach some audience.Almost 15 years have passed from then though and things obviously changed quite a lot. I still try to release honest. non-commercial music that i like from people that i also feel we are more or less in the same side regarding our relation with music industry, copyright etc. One basic rule for any of my releases is anticopyright. Then of course it's the impression i get from the guys i am in contact with, as long as you can understand anything through emails, i am looking for people who don't see their music as another product to sell and try to find new channels for communication. the same procedure goes for bands that i know personally, that is people from greece. I don't release major acts or people who are into fame or money from their music. Ofcourse i also have to like the music in the first place. Or at least feel that it is something that worthes to be heard.
The above procedure is not failsafe. from time to time it happens that i realise that i released somebody who has nothing to do with the things my label is striving for. this has happened years ago with a norwegian band in an old compilation and it also happened recently with a cd release i did. Both were people who, as i realised later, should have nothing to do with the label cause they belong to another world completely. But what to do, things like this happen, i just hope mistakes are helpful to broaden your understanding and make you able to avoid them in the future (or enjoy repeating them).
One obvious disadvantage of having your own label: YOU have to do all the running, printing, losing money, "promoting", spending time and effort in general. Advantages: i really enjoy most parts of the procedure of printing something, that is mastering the sound, designing the artwork, printing it in our silk printing installations, emailing people around to for trades. And you meet nice people, listen to new music. And most important: you are part of the building process of a community of like-minded people.
 
PS Stamps Back is you solo project. How different it is and what is the difference between PSSB and CiD?
I'd say ps stamps back is more concrete stuff. I don't know, the differencies are mostly in live gigs playing with another person gives you more freedom to improvise and experiment live, while when i play alone i have to keep everything under control which is usually not only difficult but sometimes tiring as well.

What and when was the key moment when you said "yes noise experimental is the right thing for me"?
Never said enything like that. When i do sounds i don't have in my mind a music genre or style from before. I do what expresses me better with the instruments i can use - yeah this usually comes out as experimental music. But this is not something i choose ; i am happy when i like some sounds i do, regardless of the genre they might belong. There are influences ofcourse, too many to mention, i think a major one was listening the treetop drive cd by deathprod. on a tape, a dawn on a boat to italy, 10 years ago.
 
At the end I hope you enjoyed the interview as I did. For the very end please say something about noise conspiracy. When is noise gonna dominate and rule the world or it is maybe rulling allready?
The most charming things, make you wanmna puke when they become part of the "ruling" process. Same goes for noise. Thanx for your interest and good luck for your zine.

Band info Musica Ex Machina

Musica-Ex-Machina is the electronic side of Pozoj and represents us as means through which the music speaks out. Musica-Ex-Machina is the birth of tragedy from the spirit of music which concerns everyone equaly regardless of someones subjective opinion or stands. It is substance of every heart, mind and soul and of course part of everything what is given in time. With music we get closer to the silence of time.

Band info Trap for pioneers

Trap for Pioneers (also known as Klopka za pionira) started out in 2003 as a noise-rock-electro-industrial band, or something like that. Electric and bass guitar, subtle noise of broken machines, expressionistic voice and lots of improvisation, and when they play live, it's pure ambient noise + terrorism overloaded!
Fans say: "I had a feeling that this space and these people are only a resonator that Trap is using to send it's message further, to all the worlds that touch the minds of people in the audience."
They say: "We try to play pop, but I don't know... Can you help us tune our instruments?"
They have 9 releases for Serbian underground music label Ne-ton.
Members of Trap also run a web zine Pionirov glasnik (www.pionirovglasnik.com), publishing comics, music, electronic books, and articles about religion, ideology, science, theater and literature. It is popular among good strange people of Southeast European art underground.
Band's international web site: www.klopkazapionira.net/international

Bend info Condolenca

Started as a project of the members of the grindcore band Emetica back in 2001, Condolence tried to experince the possibility of combining noise, grindcore and some dark melodies. The emphasis was placed on unique noisy sound, providing a different atmosphere and production for each song. Of course, this noise is far from any production, but the attempt was to avoid too much similarity between the songs. The lyrics create a very somber mood contemplating on the themes of death experiences. Demo "Myself Flung Down the Precipice of Being" was recorded between 2001. and 2002. and then the band completely stopped creating noise. The music found its way through to some individuals by some obscure channels. Yet, Condolence will continue to terrorize the music scene by some new melodies, which are about to appear in the future. As for the influences, there weren't any at the time, except for some grindcore bands. These days I could try to describe Condolence as a band which might resemble to such acts as Gore Beyond Necropsy, Sopor Aeternus, and John Zorn, though very far from quallity of these bands in any way. An iterview with Condolence can be found in Helly Cherry webzin, number 54 February 2007. (Interview was done in Serbian) http://www.hc-zin.co.sr/ CONDOLENCE/ GIHT SHASIE/ POPE ON ACID/ GRUUTHAAGY "4 Tickets To Balkanian Torture Camp" Split PRO CD finally out 2 Serbian and 2 Croatian noise/grind/experimental bands. 35 songs + 47 songs bonus unreleased material. This means total of 82 songs! This is a small series professionally done release which will soon be out of stock. If you want a copy of the most essential grinders from Serbia/Croatia contact Igor from GIHT SHASIE at: karmakumulator@gmail.com for trade or sale.

Band info Karmakumulator

Karmakumulator is audio design project since 2001. After few years of experimenting with pedals and recordings [PBK Theatre 1998-2000] at late 2000. first materials were recorded. First concert was played in club Mocvara, Zagreb 17.1.2001. together with Hermit [Canada], Noisegate [USA] and G.Las [Germany]. During that time material for split tape with ecuadorian Industria Masoquista for ecuadorian label Bizarre Audio Arts was recorded and sent to label. This was most primitive experimental/noise with only 1 or 2 layers of sounds/loops. Album was released in limited edition year later. Also, 2 other releases guy from Armenia/Bizzare Audio Arts label made during same time: split tape/cdr Karmakumulator/Armenia and Laboratorio-"s/t" cdr collaboration between Napalmed [Czech Rep], 2 SCD [Ecuador], Industria Masoquista [Ecuador], and Karmakumulator. After few months, Karmakumulator played concert in Ljubljana/Slovenia, at first noise festival in club Gromki 13.4.2001. Also, on this show Andrew from Praying For Oblivion was on stage with us. this was experimental/harshnoise with ambient elements, with recognizable diy synth making noise on top of everything, very much used during that period. First 2 concerts were released on tape/cdr with Antenna 59 [Italy], Hermit [Canada] and Praying For Oblivion [USA] for my own label from that time - Carpe Diem! Records [catalog no. 10]. Later that year, I have recorded material for 4 way split cdr with Aldebaran from my hometown, Phroq from Switzerland, and Mourmansk 150 from France. It was 17 minutes track entitled "Loop Abyss" which was beginning of structure I wanted to have for Karmakumulator songs-tons of layers of cut-up noise on top of each other, with lots of ambient and randomness included. In march 2002. I went to Belgrade for a month visit and there I have collaborated with my friends from project Pamba. We have recorded 3 hours of raw session materials and named it Zen Fog. It was more experimental/drone/improvisation and it was never released, but I used some of sounds from here on material I compiled at the end of 2003. for split 7" with american Tote Stadt-ex & now again called Praying For Oblivion [unfortunately never released on vinyl but that song is appearing on 2 different cdr releases]. Next was second concert in Ljubljana which was a month later, and it turned into disaster cause Pamba couldn't come to play set with us, due to their problems with slovenian visas, so we improvised alone, but since we didn't have any chance to rehearse anything before we went on stage, it was all one big mess. But since it was noise festival, the audience didn't notice it was disaster :)) Both split albums with Dada Jihad [released on Ego Boo Bits from Zagreb/Croatia] and Razorblade Jr. [Netherlands] [released on my own label from that time - Carpe Diem! Records] were finished during 2002. In summer of 2002. Prokletstvo Klare Pojanovic was new project by me and Ivan that also helped alot with early Karmakumulator live [played in Ljubljana/Slovenia both times]. We have recorded few hours of improvisations, and part of it I have putted on my first solo album in september 2003. In march 2003. I have played first gig in Split [more proper to be called dj set], and in may one gig in Novi Sad/Serbia on Interzone Festival as Dada Jihad. On both performances we presented material from split cdr. At the end of 2003. I have compiled first solo album by Karmakumulator, entitled "Please don't let me see these images again". It was released in Ecuador by Rape Art Prods in 2004. in edition of 50 copies. At the end of 2003. together with Death Disco I have remixed No Name No Fame from my hometown and it was released on his remix album in 2004. for Ego Boo Bits from Zagreb/Croatia. We collaborated live in May 2004. in Kocka/Croatia on Carpe Diem! Records festival. Other bands were Tena Novak [Zagreb]and Gruuthaagy [Pozega]. In the summer of 2004. Karmakumulator played one gig with new material in Cakovec/Croatia on Festival of youth culture with guitarist of croatian noise rock band [Mandelbrot Set]. It was pretty bizarre and experimental improvisation but it worked out very well... In 2005./2006. Karmakumulator recorded few sessions for new track on 3" cdr for american Fecal Matter Discorporated compilation/split featuring Gruuthaagy from Pozega/Croatia, Crvi and Giht Shasie from Split/Croatia. In september of 2006. I have started to record and mix new materials [2 new songs] as meant to be released on split with Insane Asylum from Poland/UK on his label Industrial Culture Records. Those came out in June 2007. Also, as 3 person lineup Karmakumulator played show in Split/Croatia/Europe on international festival of noise together with Eric Boros (Canada) and Cities In Desolation (Greece) at 11.4.2007. During august 2007. I finished new song "40 gr of inner peace" and it was released in October on split tape with another noise experimental project from my hometown (on Noiz Inkvizition Rekordz – my recent label, and Circumanalis Records – label by guy from Powerset Axiom). In september 2007. Another 2 new songs - "Xi vosare ano nera" (for online tribute compilation to italian industrial/noise musician Marco Corbelli/Atrax Morgue, RIP) and "Yellow Trash Bazooka" (for tribute compilation to japanoise legends Gerogerigegege on Andtheyfell Recordings USA) were recorded. Also, in the summer of 2007. audio document from concert in Cakovec 2004. was released on Croatian web label Gentlejunk Co. Next live action was live collaboration with Powerset Axiom in Labin/Istria 20.10.2007. on EEII Fest 2007. that actually went very well. Among many croatian experimental/noise/electro acts we have played nearly 60 minutes of live set entitled "Kruno" (as a tribute to guy from croatian Gentlejunk for being so kind to call us to play there), from harsh noise to experimental ambient. We will probably release it on cd re-release of our split someday. At the moment Karmakumulator is recording new materials and making few mail collaborations but main focus is extreme compilation dedicated to Nirvana, for which song "Milk It" will be recorded soon. Live actions, collaborations, re-releases and new releases are always possibility. Feel free to get in touch if you find this interesting.
karmakumulator@gmail.com