- Hi Reinfection! Here we go with the serious conversation. When did you start writing/producing music – and what or who were your early passions and influences?
Hello. Thank you for having us. We started writing music and getting invoilved with the band over twenty years ago. There were a lot of bands that influenced us. Time changed sod id the influences.
- What do you personally consider to be the incisive moments in your artistic work and/or career?
I think first time we played outside of Poland was pretty important. Thats when we realized what all this was about. One big amazing experience.
- What are currently your main compositional- and production-challenges?
Definitely living in different parts of the world. Vocalist and Guitarist live in Poland while I reside in California. The distance sometimes plays hard role in all this.
- What do you usually start with when working on a new piece?
A beat that I haven’t played yet in any other song and building from that.
- How strictly do you separate improvising and composing?
These days we keep it free and walk the fine line between the two. You should improvise to avoid following your rules and just recreating stuff you have already done.
- How do you see the relationship between sound, space and composition?
Sound has to always be massive, the space is neccessary and composition is key.
- Do you feel it important that an audience is able to deduct the processes and ideas behind a work purely on the basis of the music? If so, how do you make them transparent?
When you write a good piece and you mean it, just that is enough to make it a strong statement. I love the fact that people think they know you just because they know your songs. Well, they don’t. That can create an element of surprise on the next record.
- In how much, do you feel, are creative decisions shaped by cultural differences – and in how much, vice versa, is the perception of sound influenced by cultural differences?
I dont think cultural differences would affect the sound. Maybe the message in the songs, but not the sound.
- The relationship between music and other forms of art – painting, video art and cinema most importantly – has become increasingly important. How do you see this relationship yourself and in how far, do you feel, does music relate to other senses than hearing alone?
Since man was man music always was part of other forms of art. You can paint a picture with a song and make the video more emotional. All forms of art co exist and more often than not colaborate on expressing just about anything.
- There seem to be two fundamental tendencies in music today: On the one hand, a move towards complete virtualisation, where tracks and albums are merely released as digital files. And, on the other, an even closer union between music, artwork, packaging and physical presentation. Where do you stand between these poles?
I think the world keeps on turning and technology moves forward and all media are avaiable to anyone and that’s good. But when you buy a record that you really like and you can read what’s in the booklet and touch the disc in a sense it connects you with what is on the disc a lot more than ckicking on the link online.
- What changes would you like to see to the music industry to allow you to make a living from your music?
I am not sure what could work.
- The role of an artist is always subject to change. What’s your view on the (e.g. political/social/creative) tasks of artists today and how do you try to meet these goals in your work?
I don’t try to meet any goals. We write the music that we like and we would buy it in the store. If you like your stuff it doesn’t really matter what anyone else thinks about it. Creating music should not have any goals to meet. When you have something then you know it and you go with it. Then just write about what pisses you off, that is it. There shouldn’t be any sense of staying on top of what’s going on today, be angry and making sure you put it in your creation. Just when you are hot – create! No goals.
- Music-sharing sites and -blogs as well as a flood of releases in general are presenting both listeners and artists with challenging questions. What’s your view on the value of music today? In what way does the abundance of music change our perception of it?
Making music so accesible and free drops it’s value in a sense. Sort of like the saying: Why is free stuff good? Because it’s good and it’s free. You usually don’t value free stuff as much as the stuff that you paid big bucks for. Same with music.
- How, would you say, could non-mainstream forms of music reach wider audiences?
It couldn’t. Simple minds listen to mainstream. Troubled minds listen to twisted death metal LOL
- Usually, it is considered that it is the job of the artist to win over an audience. But listening is also an active, rather than just a passive process. How do you see the role of the listener in the musical communication process?
Crucial. Immediate energy from a listener during the live concert gives you something that can’t be expressed. It’s more than just energy.
- Reaching audiences usually involves reaching out to the press and possibly working with a PR company. What’s your perspective on the promo system? In which way do music journalism and PR companies change the way music is perceived by the public?
They control it. Big record labels release and promote the product and it doesn’t even matter if the record is good or not. They tell you to buy it and you do, because it is there in front of you. How many Times you discovered band that’s more brutal than ever and realized that sometimes underground music (for example) is what you really needed. Not the stuff that is there stuffed on the shelf in front of you.
- Please recommend two artists to our readers which you feel deserve their attention.
Who am I to tell you what to listen to? No need to like what I like.
- Thank you for your time!
Thank you. Check out our new record „Breeding Hate”. It will drop you to your knees. You wont be dissapointed. Cheers!