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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.

Nac/Hut | official album cover

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.

Nac/Hut Report | Brigitte Roussel

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?
Well, I don’t know if the world is a horrible place, surely the times we live feel horrible. To refer to the quote I surely think that these are disgusting times for music, there’s a lot of good stuff but there’s a few space and interest for it, but on the other hand maybe it was always like this, who knows. Then, beside art and culture I don’t find myself well in the regime of capitalism, bombed by the media propaganda, of course somebody could say that if you want you can stay out of this but I don’t see it that easy, for me it’s more like a virus that is spreading all around; you’re in the middle of this or you have to suffer the effects of this, like people in the countries that have nothing to do with the western culture but have to suffer the imperialism of capitalism, maybe it’s true in the end I believe that 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
an accumulation of impulses and spurs
that ferment inside you and then arrives
the moment when you have to throw it
out in some way.

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.

Nac/Hut Report | band photo

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?
RCP Tapes was an American label, guess they stopped releasing records some year ago. Was our very first label, we had one release on it. They just heared about us and got in touch. But later we decided to release our first album by ourselves as a free-download, we thought it was a good idea but maybe we were wrong.

What were you doing prior to that?
Prior to that we just started recording few of our first songs. We were not completely satisfied of our first compositions, so we worked on them for a long time, throwing away a lot of material. Still now we think that our first songs were too conventional.

Nac/Hut Report | Brigitte Roussel and Li/ese/Li

Did you share any particular friendship with other bands on the label you would like to mention? Why these guys?
Honestly we don’t know anyone of them personally, but the label released something by the Goslings, they were a great band.

Have you been contacted by musician yet?
Still not. We never thought about releasing other musicians. But now it looks like the label-matter is going on good, so maybe we’ll do.

What are your feelings when you play music?
Probably the reaction of the audience, some of them are enthusiastic, some feel uncomfortable with what we’re doing, anyway we’ve very rarely found indifference. It’s interesting how sound can create a reaction in people.

What would be the worst moment you’ve experienced live?
Playing without any sound check. Our music is very noise, especially live, but that time was really a nightmare. Or maybe that time when we played in front of only two persons and just before the end of the gig they asked if it was all right if they would go to have a coffee.

What is your favorite past time? Do you go out a lot and where?
Going to gigs, listening to music, drinking, books. We love going out, mostly to music clubs and pubs, but it depends on how much money we have, sometimes we just can’t afford it.

Which band did you last see?
Lot of little unknown bands. Probably the last popular band we saw were Black Dice. We know them personally. They’re great.

Any pet hate you would like to share with us?
It would be a long list.

What is the message you promote? What do you think of society?
I don’t think we’re in the position to promote any message. We try to stay apart from society as much as we can and we hope that society will do the same with us.

You’ve mentioned in your biography the “Italian underground scene” as a source of inspiration.
A lot of Italian underground bands are working on free improvisation or, sometimes, introducing element of improvisation into regular compositions, the result is often very interesting especially when they deal with electronic sounds. There is something good even in the “dark-wave” scene but it is much more traditional.

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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