INTERVIEW: Peter Keller of BACILLUS

Peter Keller of Bacilius

Peter Keller of Bacilius

AUTOreverse
BACILLUS
Interview
March 2012,
Peter Keller interviewed by
Ian C Stewart

Peter, hello. Is there anything you’re feeling particularly mouthy about at the moment?
Well, I am getting older, so I’m getting more tempted to yell at kids to get off my lawn, or to complain about their rock-and-roll and hula hoops. I look forward to getting old, because I can then get away with being mouthier.

Let’s talk about your musical/sonic influences. Who are your biggest influences and why? Who were your early influences?
As for direct influences, the groups I first heard back in the 80’s such as Controlled Bleeding, Nurse With Wound, SPK, Cabaret Voltaire, Merzbow, and the like were obvious touchstones for me. Although I have always had an appreciation for cold distorted sounds it seems; one of my earliest memories I’ve had is being in my crib and hearing the sounds of motorcycles going by. Obviously I had no idea what a motorcycle was, but even then I was hearing how the pitch and frequency of the sound changed in the distance as the soundwaves traveled across the landscape. I was also captivated by the sound of thunder at an early age. It was a sound that terrified me as well as made me awed at its power. If I’m able to project even a fraction of that same feeling, then I feel that to be my success.

Where do you see your music/sound/creation heading?
I have been taking a bit of a break from recording anything new. My project as Bacillus is not dead, so it will pop up again; it’s just not apparent when that will be. But when I do, I may experiment with longer-form releases, something that is as gritty as before, but with more cold atmospheres. I will likely make sounds in the same way as I’ve done in the past; I don’t see myself using laptops and software to construct them. I still prefer the warmth, the messiness, and the hands-on experience of analog.

What’s in your home studio setup?
Everything I use is analog, even today. I use cheap/broken tape players, turntables, an array of pedal effects, a couple of cheap mixers, some homemade circuits, a variety of broken electronics that make sound, a mess of cables, an a workhorse of a boombox that I’ve had since the 1980s that has the delightful idiosyncrasy of being able to play two cassettes at once. My “studio” is basically a junk heap.

What’s your latest release?
Ha, “latest” is quite relative for me. My latest release was back in 2010. Of material I recorded in, I think, 2003 or so. Cipher Productions from Australia has put out Bacillus – “Anthracis” business-card CDR. Probably my briefest release for someone who is known for putting out albums that are 20 minutes or under. This time it’s four tracks in less than 6 minutes dealing with Anthrax (1. Inhalation of Weapons-Grade Spores in De-Staticized Aerosol Agent, 2. Encapsulated for Environmental Resistance, 3. Exotoxin Production Resulting in Hemorrhage and Edema, 4. High Level of Antiphagocytic Virulence Factor).

Can you describe your writing/working methods?
I don’t write so much as I construct/destroy. I take existing music sources and degrade them down to the point of nonrecognition. I scratch and sand down records. I find cassette tape flapping in the breeze on the side of roadways, and make loops from them. I take discarded/free cassettes and pull out the tape, crumple it, expose it to the elements, rub magnets on them, and so on, then spool them back in, sometimes recording over it. I pour glue over records, then peel them off and play the result. I splice segments of these raw sounds together, layer them, and run them through a varying bank of distortion, EQ filters, and such to get a dynamic wall of rough raw textural sound. I basically physically wrestle sounds down to submission.

What else made you decide to start making sounds of your own?
When I saw how simple it was to make a racket. The first time I hooked up a boombox to another cassette recorder and ran a tape (I forget which one. Maybe a Depeche Mode tape) through with all the levels set at maximum, and loved how the overloaded circuits turned a poppy synth sound into an angry spittle of rhythmic distortion. But I didn’t want to make noise for noise sake, as I saw very quickly how many other people were making a racket once I connected with the cassette scene. So I developed a concept that was parallel to the physical degradation of the sounds, one of disease breaking down the body, and focused on applying the ideas of disease, microbiology, pathology, pandemics, and so on to a narrative of sound as infections. That’s how Bacillus came into being.

Bacilius live

BACILLUS live

Are you active in your local music scene?
Very much so, although not so much in the performance realm as I used to. I have played live as Bacillus, as well as under other names for other concepts (Natural Order, The Genitals), but I have been much more active as a nightclub DJ. I do so around town (in Seattle) under four different names, spinning four distinct styles: DJ Misanthropologist (noise, dark ambient, death-industrial, etc.), DJ Coldheart (old-school goth/industrial/coldwave/postpunk), DJ Dubonnet (1920-30s jazz/blues), and DJ Pelvis (1960s mod/garage/fuzz/funk/freakbeat). So I’ve been quite busy doing that and putting my extensive music collection to work.

Who would you like to collaborate with?
In a sense, I collaborate with different musicians every time I pick up one of their records or cassettes to alter. What I’ll probably do in the future is use recordings from musicians who have died from disease.

What other artists are you excited by?
I listen to a wide swath of music, and I’m always digging to find the obscure gems that time forgot. Every week I come away with something intriguing, whether it be rare soul, coldwave, vintage blues, old synth landscapes, or something that’s off-the-wall weird that makes me laugh to hear it. Lately a lot of rare minimal wave has been reissued, so I’ve been enjoying that resurgence in interest. There hasn’t been much “new” that I’m excited about; it all sounds too much like things I’ve heard in the past, and I prefer the original sounds more. I constantly find new sounds by digging around through past history, and I enjoy being able to share them by DJing, so much so that a friend commented that “it’s like having a music historian as a DJ.”

What’s next for you, musically/sonically/creatively speaking?
Music will always be a big part of my life, whether appreciating it or creating it. I can’t say what I’ll be creating any more than I can say what I’ll be listening to. But I’m excited to hear what comes next, whether it comes from me or someone else.

What did I forget to ask you?
“Have you checked your smoke alarm lately?” Yes. Yes I have.

What’s the URL for your website?

My exciting ancient Web 2.0 site: http://www.freewebs.com/bacillus/

BACILLUS on Discogs

BACILLUS on NoiseMP3

Thank you, Peter!

INTERVIEW with John Gore of Cohort Records, ‘kirchenkampf’, etc.

John Gore

John Gore

AUTOreverse #14, summer 2011
John Gore
Cohort Records
‘kirchenkampf’
interviewed by
Ian C Stewart

John, thanks for answering a few questions. Let’s start with that old chestnut, influences. Who are your biggest musical influences and why?
If you mean who do I think I want to sound like, that depends on when the release came out. My style has changed a couple of times since I started in 1986.

My earliest experiences with electronic music were Tangerine Dream and Klaus Schulze. I was crazy about anything with synthesizers in it.
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INTERVIEW: PBK interviewed by C. Reider

AUTOreverse #14, Summer 2011
PBK
aka Phillip Klingler
interviewed by
C. Reider 

First of all, congratulations on your twenty-five year anniversary!  Twenty-five years is a long time to be doing anything, and I think you’ve been consistent and principled in pursuing realizations of your ideas, and deserve a lot of credit for that. Considering the occasion, I think it’s probably appropriate to start with something retrospective. Why don’t you tell me about the beginnings of your work with sound, and your first experiences with noise music?

Thanks for the kind words, Chris. I never think about things like that too much, although it’s nice that you said them, coming from you it’s quite a compliment! I do sometimes enjoy telling people how long I’ve been following my creative compulsions, it has it’s own absurd impact.

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INTERVIEW: Dino DiMuro interviewed by Russ Stedman

Dino DiMuro

Dino DiMuro


AUTOreverse #14, Summer 2011
DINO DiMURO INTERVIEW
Questions by Russ Stedman

Do you remember the first record you bought?
Very hard to say. For singles, it could have been PINBALL WIZARD by the Who, or CRIMSON AND CLOVER by Tommy James and the Shondells. Albums, it was probably GOD BLESS TINY TIM or the soundtrack to BONNIE AND CLYDE. And I’d still buy those records. Maybe not HAIR, though.

What bands from childhood have you NOT outgrown?
Probably the Beatles, Beach Boys, Captain Beefheart and Frank Zappa. Jimi Hendrix, the Who, and Black Sabbath are still great but I played them way too much. Jethro Tull and Deep Purple, I feel kind of silly now that I was SO into them.

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INTERVIEW with Mike Textbeak

Textbeak

Textbeak


AUTOreverse #14, Summer 2011
TEXTBEAK
interview by
Ian C Stewart

Is there anything you’re feeling particularly mouthy about at the moment?
there is a music in the roosts, from deadly war teams of the wildlife colony tubes. Shy is the Wildlife of conflicting del fuegos and the orthodox Soul Nets of recent mystery. in a worship, Nations existed in dinosaur cries of hades.

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INTERVIEW: Paul Caporino of M.O.T.O (Masters Of The Obvious)

M.O.T.O.

M.O.T.O.


AUTOreverse #14, Summer 2011
PAUL CAPORINO
M.O.T.O.
(Masters Of The Obvious)
interviewed by
Ian C Stewart

Let’s talk about your musical influences. Who are your biggest influences and why? Who were your early musical influences?
PC: Mostly recordings of popular music of all genres dating back to…….

Where do you see your music heading?

Not sure, but it’s getting there.

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INTERVIEW: Charles Hoffman

Charles Hoffman

Charles Hoffman


AUTOreverse #14, Summer 2011
CHARLES HOFFMAN
interviewed
by Ian C Stewart

Is there anything you’re feeling particularly mouthy about at the moment?
Lately I’m really obsessed with self-importance. I work in web development, and I seem to run into a lot of it in those circles, but it’s kind of everywhere in society these days. So many people try so hard to look like something that not only they’re not, but also that doesn’t even make sense to be. The “creative class” is this myth that messes with your head. People spend money they don’t have to try to look like a big wheel, when you’re really just like, making silly fun websites that only make money by selling advertising under the false pretense that anybody pays any fucking attention to it. There’s so much in our society and economy that’s just absurd right now but that people take totally seriously.

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INTERVIEW: Greg Mathieson of Bat Lenny, Limpid (the) Green, Stegor, etc.

Stegor

Stegor

AUTOreverse #14, Summer 2011
Greg Mathieson
of Bat Lenny, Limpid (the) Green, Stegor, etc.
interview by Ian C Stewart

Let’s talk about your musical influences. Who are your biggest influences and why?
Classic Prog Rock, like Genesis, Pink Floyd, King Crimson, Jethro Tull… I just keep going back to that stuff. As much as I love the multitude of musical styles and directions that have developed since then I’ll never forget the mysterious feelings I got when I was a kid listening to that stuff. And then there’s Bowie, XTC, Talking Heads, Kraftwerk…
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INTERVIEW: Swerve

Swerve

Swerve


AUTOreverse #14, Summer 2011
SWERVE
interviewed by
Skot Schtickla

Swerve has been a part of the Sydney music scene, in particular the experimental music scene for as long as I’ve been around of it. I first met him in the mid nineties sometime as his label had organized gigs which they had asked my band at the time to be a part of and also I had witnessed insane shows that contained Swerve and other acts from his label Dual Plover that I’d never seen or heard anything like before! Generally challenging musically in many ways but also also visually spectacular and energetic unlike a lot of ‘noise’ shows which can be great to listen to but dull to look at. I noticed that never with Swerve or any of the associated acts you would get this, they always went off in some way and had fun.
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INTERVIEW: Greg Stomberg of Syberite, etc.

Stomberg Susnara

Stomberg Susnara

AUTOreverse #14, Summer 2011
GREG STOMBERG
questtons by
Scott Stikla

When did you first become aware/ interested in sound in general and what do you remember of your earliest ‘hearing ‘experiences whether musical or not?
When I was in kindergarten we got out of class early because jfk was shot, one of my earliest memories, then in feb i remember running across the street yelling ‘the beatles are on tv, the beatles are on tv’, we made guitars out of boards and rubber bands in 1964 when i was 6 or 7, a great year, well, not for jfk i guess.
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INTERVIEW: Roman Kovalchuk of HIGH PARK

High Park - All Day, 2011

High Park - All Day, 2011


AUTOreverse #14, Summer 2011
Roman Kovalchuk of
HIGH PARK
interview by
Ian C Stewart

ROMAN, HELLO. IS THERE ANYTHING YOU’RE FEELING MOUTHY ABOUT RIGHT NOW?
I’m on a three hour drive going camping right now, away from my studio, so I’m pretty happy to get a few days away from the city and relax.
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INTERVIEW: Russ Stedman epic


RUSS STEDMAN
MONSTER INTERVIEW
ten questions in the middle by Skot
other questions by Ian C Stewart

TRICKY QUESTION FIRST: CAN YOU TELL ME SOMETHING ABOUT THIS ALBUM THAT NO ONE ELSE KNOWS?
The sound, feel, instrumentation, vocals, and pretty much everything about the song “When Will The Drugs Take Effect?” is a homage to one of my favorite albums of all time; THE FLAMING LIPS’ “The Soft Bulletin”.
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INTERVIEW: Don Campau

Don Campau

Don Campau


AUTOreverse #14, Summer 2011
DON CAMPAU
interviewed by
Ian C Stewart

SO……DID YOU MISS AUTOreverse?
In fact I did. I don’t believe you’ve ever received your full due from running autoreverse during those crucial years after Option went south and Sound Choice folded. You and Bryan Baker of Gajoob were essential to keeping the spirit of home taping culture on the map and alive. Plus you are just a damn good writer.
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INTERVIEW: Sean Padilla of The Cocker Spaniels

Sean Padilla

Sean Padilla

AUTOreverse #14, Summer 2011
SEAN PADILLA
aka COCKER SPANIELS
Ian C Stewart

DID YOU MISS AUTOreverse?
Yes, I missed “AUTOreverse” a lot. During the last five or six years of life, I felt very disconnected from the “cassette culture” that served as a musical and psychological lifeline for me when I was a lonely teenager in southeast Texas. “AUTOreverse” was the best of the ‘zines I read to keep myself informed about cassette culture, and its support helped give me the strength I needed to keep making music when the people surrounding me weren’t exactly supportive.
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INTERVIEW: Shaun Sandor of Promute and Bicameral Mind

Shaun Sandor

Shaun Sandor

AUTOreverse #14, Summer 2011
Interview with
SHAUN SANDOR
of PROMUTE and BICAMERAL MIND
by Ian C Stewart

WHERE/HOW/WHEN DID YOU RECORD YOUR LATEST THING?
I recorded the most recent release – Portocal Sessions in the spring of 2011. It is on the Zeromoon Label as a net release, and hard copies for sale go to benefit the Sonic Circuits Festival in DC.
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INTERVIEW: Graham Halliday aka Funkmeister G interviewed by Skot Schtikla

Funkmeister G

Funkmeister G

AUTOreverse #14, Summer 2011
FUNKMEISTER G aka
GRAHAM HALLIDAY
interview
by Skot Schtikla

Graham Halliday is mainly known in the recording guise of Funkmeister G.

Born in Ireland and then living in Perth, Western Australia for a few years, he is Sydney-based and has lived in just about every suburb of the ‘inner west’ since he was a kid. He produced Chunky Yet Funky zine in the 90’s when I first came across him and some of my earliest memories of G are him calling me on the phone and then not really saying much except ‘listen to this’ and then he would play me everything from a dictaphone or tape deck old jazz, Sun Ra, Captain Beefheart to some of what I assumed to be his own noise recordings down the phone which with the old land-line would pretty much come across as 20 minutes of distorted fuzz!
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INTERVIEW: Jim Santo of The Sharp Things, The Kennel Recording Studio, etc.

Without this man, none of this would be here.

Jim Santo

AUTOreverse Issue #14, Summer 2011
JIM SANTO
Interview by
Ian C Stewart

Is there anything you’re feeling particularly MOUTHY about at the moment?
Are you kidding? I am a non-stop bitchin’ machine. I spent most of today on the phone with help desk personnel, need I say more?
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