RAIDERS OF THE SOUND: GOTHIC ROMANCE
Interview by Victor Delvecchio
Published in: La Feuille de Cabbage, on April 7, 2013
I recently cruised along Nac/Hut Report newly created label Double-Hallucinative to find the following description: “Disgusting music for disgusting times. All the rats will cry.”
Hello. Let’s go.
Nac/Hut Report is a Polish/Italian duo which was built in 2008 during a casual meeting in Cracow between art student Brigitte Roussel and factory worker Luca aka Li/ese/LI.
Finding their research bland and “too conventional” at first, the duo will undergo small transformations and a lot of destroyed material to finally radiate in “concrete musique” a system of sound recorded in situ transformed and layered in a form of a sound collage, legacy of French composer Pierre Schaeffer’s.
As the name comes from a fusion between the tittle of a German porno movie “Nacht Report” and “Nachhut” also German but for rearguard they describe their latest album Angel-like Contraction Reverse as creature-like as a Hans Bellmer’s Doll or “something alive. Something weird, deformed and fragile. A sad little monster moving painfully.”
Interestingly I disagree. There was something moving and I was,like the protagonist in the Caspar Friedrich painting, a wanderer standing above a sea of black bile, staring through the doomed, ghostly vocals of Brigitte Roussel and a howling wind of looped screeching guitars. Like a Romantic opus, I understood that the duo thrived in the macabre undertones of spooky and dizzying atmosphere.
Now settled in Reggio Emilia, a place they describe as a “boring industrial city in the north of Italy”, Nac/hut Report will favor a “grotesque, illogical sense of reality” grounded in Polish culture and literature: Jerzy Pilch, Dorota Maslowska or poet Marcin Świetlicki for the lyrics, Nac/Hut Report emphasizes to dissociate from cold, static music preferring something “highly intense and dynamic.” Adding to their latest album a lot of material such as pedals, loop stations, harmonists and effects, they intended to “put these ideas about sound in the structure of a “normal” song, using noises to create the basic tone’s sequences for a minimal composition (usually 2-3 tones, never more than 4), and then adding vocals and guitars as separate layers.”
I have caught up with the pair. Ladies first.
Brigitte Roussel: I’m 24 years old. I was born and grew up in Poznan, Poland, where I also attended high school and University. During the years of my adolescence I took also a lot of courses related to art, theater and painting, but for many reasons I chose to study history. It was the wrong decision and after few semesters I left the University and decided to start studying and working on art, becoming a self-taught artist ‘cause I didn’t like institutions very much.
The Viennese Actionists are a great source of inspiration for me, I find their works very strong and very expressive and these are elements which are very important in art for me. I think it’s quite strong and symbolical, in a subliminal way, because it recalls our primal fears, repulsions and curiosities.
I also paint, they are a bit different from the kind of images I make in the video. I often work with many different materials and sometimes they become almost sculpture-paintings. I create them from anything that could be a support for a painting: plastic bottles, paper bags, pieces of clothes.
Do you really think the world is a horrible place?
Like most of artists, I started working on art because its language was more communicative for me than any other thing and I found a way to understand the others through this medium.
I think inspiration is more a matter of
My inspiration comes from the work of artist that actually obsesses me. It’s very periodical and in different moments my sources of inspiration are very different, there was, for example, a period when I was very focused on the macabre aesthetic we talked before, and I found inspiration in the early works of Nick Cave and The Birthday Party, as much as in the iconography of SPK and the movies of Lars Von Trier above all the trilogy on Europe. But at the same time can happen that I work in painting on completely different kind of things and for this I’m much more inspired by works of Mama Baer and Kommissar Hjuler, which are a couple of German neo-fluxus artist.
Li/ese/Li: My name is Luca and I’m 32. I grew up in Emilia, a region in the north of Italy I’ve lived in 3-4 different places during my childhood and youth but always in that region. I studied modern literature for a couple of years in university but then I got sick of it and I started doing a lot of different awful jobs. Around this period I started working seriously on music, firstly on “experimental” guitar, later on electronic sounds. In this period I even started travel as much as I could, especially in Eastern Europe.
Probably the main inspiration is other people work, not only music but every form of art. I always felt the need to create a complex perception of the world and their work helped me a lot. I wanted to make the same with music, create something necessary, something that could change radically the meaning of things. To me art can generate “reality” as much as “reality” generates art. I don’t believe in unilateral connections.
Can you tell me about RCP Tapes?
What were you doing prior to that?
Did you share any particular friendship with other bands on the label you would like to mention? Why these guys?
Have you been contacted by musician yet?
What are your feelings when you play music?
What would be the worst moment you’ve experienced live?
What is your favorite past time? Do you go out a lot and where?
Which band did you last see?
Any pet hate you would like to share with us?
What is the message you promote? What do you think of society?
You’ve mentioned in your biography the “Italian underground scene” as a source of inspiration.
Italy is a strange place. The underground scene is really good and there are a lot of great bands in it but they just can’t find a place because of all these awful productions by indie-labels. They’re very invasive. Nobody likes that “indie” music, nobody really listen to these records but it looks like nobody can get rid of it. So there’s an enormous difference of quality between the hidden underground music and the indie, alternative music released by the labels.
Nach/Hut Report, thanks!
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