This interview with Don Anderson of Sculptured features questions by U.
Amtey
1. I
have read almost all of your bio material, and I think I have most of the
details (the most obvious, in any case) of your band's personal history firmly
in my memory now, but would you mind filling in a few gaps? I know that
Sculptured progressed very quickly from the time you released your first demo
to the point where you were signed and pressed your first album - in
retrospect, did it happen too fast for you? Are you still satisfied with that
first album? What would you change, if anything? How was that album received -
not on a critical level, but by the people around you and the people whose
opinions you respect? Was there any kind of backlash against you for the speed
at which you progressed to the level where you are a widely-distributed band? Did
you, or do you now, have problems in relations with the 'underground'? I get
the feeling that Sculptured doesn't really place that high of a priority on
fitting into any certain scene - could you elaborate on that?
The
progression of Sculptured was very fast. I do think it happened too fast, I
often ask myself how do I deserve all of this? I have never played live. I
hardly had a demo and I really didn't send that many out, probably only 100. I
think the one single detrimental result of this was that I signed to a label
too quick, and this was Mad Lion Records out of Poland. I was just excited to
have a contract offered so quickly! I won't get too caught up in the specifics
of the contract, but it was not very good. I have The End to thank in getting
me out of it. They licensed the album from Mad Lion and in my mind completely
saved the album from obscurity. Mad Lion did a good job with promotion in some
parts of Europe, but it just wasn't good enough. The Spear Of The Lily Is
Aureoled is very old to me, both lyrically and musically. I would never write
lyrics like that now. I do not disown the album, but it is behind me for good
and I have no desire to think about it or listen to it. Sure there are things I
would change, but I would rather leave it the way it is; a sonic reflection of
where I was between 1996-1997. The album was very well received and the critics
who were important to me like Marco Barbieri, Marty from Worm Gear and Lance
from Ultima Comparatio all really liked it. But, I think the album was
relatively safe and I have to kind of laugh when people called me
"avant-garde", because there really was nothing
"avant-garde" about The Spear. As for response to how fast, there
were comments but nothing negative. There was no jealousy on the part of other
bands, just a lot of support from close friends. I think this is a result of my
not being completely submerged in the underground metal scene. There are a
number of bands that I write and keep in contact with, but as a whole, I have a
vague idea about what is going on with Metal these days in the underground. By
reading magazines I see that there is a real flood of bands lately; an
over-saturation. I think this is why I have become slightly burnt out. There
are just too many bands and too many labels releasing too many bands. I suppose
I can't talk, because I am one of these bands. But, hopefully I have something
new to present, thus justifying my existence. "Fitting in" is not a
priority at all. I think the desire to want to fit in is very dangerous to the
artist. Thinking about the audience is the last thing in my mind. I do
obviously want to please my fellow bandmates because their thoughts and ideas
are important to me and I respect them as human beings and artists. But when it
comes down to it, art is a very selfish and indulgent thing.
2. In
what ways does your new album differ from the first, in terms of the approach
you took this time to the songwriting, the level of 'technicality' involved,
and the success which you have had in translating your desires, emotions, and
wishes into musical expression? Are you finding that it's becoming easier for
you to convert the music you hear in your head to realistic patterns on disc or
tape, or as you push the progression of your band, does it stay just as
difficult to realize, in reality, what you want to hear? Is this an ethic of
Sculptured - that the music remains challenging both to you and the listener? If
so, why?
Yes! It is
vital that the music remains a challenge to both me and the listener. I think
it is the challenge that pushes me to move. It is like a shark, it has to keep
moving or it will die. I also want the music to be challenging, because this
then involves the listener more. It forces the listener to become more involved
and to sacrifice a piece of themselves. It is a kind of two-way, give and take
situation. While the creation of the music is a selfish and solitary act, the
result is essentially a group activity between the band and the listener. Sometimes
this means war, sometimes love. I find it harder with each album, because I am
not easy on myself. If something I write sounds like it could have been on the
last album, I throw it away! If it sounds like another band...its gone! I may
become a better guitarist or songwriter, but this just means that I have much
higher expectations of myself. The thing about change is that it basically
means death of the old. There is an eroding of the past in order to make room
for the new. I think some people are afraid of change because it means an
inevitable death. But, I try to embrace this death and create with it something
new and better than what was originally there. This way I am also honoring the
original by making it's death something more grand and profound. The Spear to
me is long dead, and Apollo Ends is its re-birth. Eventually, Apollo Ends will
die too and something far greater will emerge. That is the goal anyhow.
3.
Andreas from your label, The End, told me to be sure to ask you about any
line-up changes you have had over the past few months, and to ask how the band
is progressing towards becoming a live or touring act. Do you want to address
that now? I remember reading in another interview with you that you don't really
consider Sculptured to be a 'live' band at this time, mostly because of
problems you have with other commitments or with the fact that it just might
not be possible, in a live situation, to completely reproduce the songs from
the recordings in an adequate way. Is this still your position? Has there been
much of a demand to see Sculptured tour - perhaps sharing the stage with
Agalloch? Has Sculptured played live in the past? If so, what was the reaction
of the audience like - how was the feedback?
Sculptured
has never played live, and not totally by our own choice. When Sculptured began
it was just me, Brian and a drummer with a guest trumpet. I played almost all
of the instruments because there was not many musicians here who want to do
music like this and I have a strong desire to be completely in control. With
this album we have a new drummer, a bass player and a new trombone player. Many
of these musicians live in other parts of the state and country at the moment. So
we cannot play live. I have thought a lot about if I would want to play live if
we could. And I have some ambivalent feelings about this. Part of me wants to
perform and experience making music "live" and being in that magical
element. The other part of me fears large crowds and I often get filled with
panic when I am in large, sociable groups of people. And I think there is an
inherent, natural feeling of war between the musicians and the audience. This
could stem from trying to force them to listen, to open their damn ears. Also I
don't like feeling like an object on the stage as if I am some sort of circus
animal doing tricks for the audience. I think in order for Sculptured to feel a
closeness with the audience we would have to be already very popular and well
respected so that we wouldn't have to fight for the audiences attention.
4.
Being from Texas (those of you reading this from countries other than the US,
think: dry, dusty desert littered with concrete), I have evolved, over the
years, this state of mind where the atmosphere and environment that I have been
placed in doesn't really inspire me, in my own music, in either a positive or
negative direction. You are from a completely different part of the country,
where there are unique landscapes and a much more varied range of terrain to
find yourself wandering through. Going from the pictures inside 'Apollo Ends',
and the lyrics as well, I know that your immediate surroundings seem to have a
very positive influence on you in terms of inspiring your music - either
through a direct channel to your sympathies, or by causing you to imagine a
completely different environment. Can you comment on this? Do you find that
your environment readily offers you metaphors for the description of inner
emotional states? Is this a link you hope to foster or support in the future
with your music? Do you think it's one of the functions of an artist to
immediately be able to reflect (instinctively, really) his or her environment
in a way that facilitates emotional expression?
I don't
know how an artist could help but instinctively reflect his or her
surroundings. I am definitely influenced by my surroundings, or more accurately
my response to them. I am very sensitive to my environment. In Apollo Ends
there is much written about the early morning atmosphere which is something
that can frighten me, sicken me or comfort me. To me the early morning hours
are naturally apocalyptic. The beginning of a day resets the clock. It wipes
the slate clean. Anything could happen because the day has yet to be tarnished or
destroyed. It is young and vulnerable. I have a peculiar interest in the
beginning of a day tricking humanity. Within its innocence there may lurk
possible destruction, the end of the world. The sun's first rays could be the
reflection of an atomic explosion. If I
walk out onto the grass outside of my house, the air refreshes me and the grass
is wet and more youthful because of the moisture. There is tremendous beauty in
the world at that time, right before most people wake up. There is an
unexplainable solitude that is peaceful. This is when I feel comfort. If I stay
up late and do not go to bed, and the morning approaches I feel out of place
and physically and mentally mixed up. I feel I have lost my balance with nature
and the Earth. I don't know how to explain it, but it is dreadful. Also, the
pictures in the layout were actually taken in Finland by a friend of ours.
Sculptured relaxing...
5. What exactly is your method (if you
feel like divulging it) when it comes to writing the guitar music for
Sculptured? I have been assured by several people now that you have very a
well-defined and rigorous system for composition, equal in complexity to the music
you are trying to put out. Is this true, or something of an exaggeration? Is
the method that you use something you developed as a way to guarantee certain
results in the 'progressive' field, or is it just a natural way for you to
write, suited to your own personality? Something else I was wondering about -
is the name of your band suggestive of your methods of composition? With
Sculptured's music, I have always had the impression that the end justifies the
means: in other words, you will use whatever sounds, effects, or methods of
playing that you need in order to reach a certain result or satisfy your
vision. Does this ever get tiring for you, or have you found that there has
never been a reason for changing your methods? How deeply do you feel the impetus
to keep Sculptured's music fresh by incorporating elements that are often
disparate or atypical to 'traditional metal' aesthetics?
Well, the name Sculptured is definitely
inspired by the way I look at composition. One way I sometimes like to think
about composition is imagining a thick block of sound which is slowly chipped
away into a song. Its like sculpting a human figure, just remove what doesn't
look like a human being. There are a handful of systems I like to employ - some
of which work, some of which don't. But I always have them at my disposal. One
system is what is referred to as Serialism. This was developed by composers
like Schoenberg and Stravinsky. What I do is make a pattern of 3 or 4 notes and
then develop a matrix out of it. So, I will take the notes E - G# - D - G and
line the inversion of these notes on the left hand side like this:
E G# D G
C
F#
C#
This way I have the original row at the top, and the inversion on the side.
Then I will fill in the spaces, adhering to the interval relationships of the
original row... (ex. E-G# Maj. 3rd, next row: C-E Maj. 3rd etc...):
E G# D G
C E Bb Eb
F#A# E A
C# E# B E
Once I have this matrix the music I write has to follow these patterns of
notes. So, what we have in this matrix is the original row, its inversion and
its 3 transpositions which can all be played forward or backward. I make chords
and melodies out of these patterns. I can also use more than one matrix. I have
a new song that uses C#-A-G#-E which obviously spells Cage, as a homage to the
composer John Cage. Many people criticize this as being limiting. They say
"you are putting restrictions on yourself". Yes I am, but this system
is no more restricting then writing something in the key of Cmaj, or Bmin or
whatever. Once you choose a key, you have predetermined your harmonic
relationships, your possible modulations etc. Its the same way as choosing a
row of 3-4 notes. You have predetermined everything, but at least it is
different then writing in a key. Freedom can be scary, and while I write some
things "freely" it is very difficult. It is easier to have some rules
to follow. This also means of course that if you don't like what is coming out
of the matrix, you don't have to use it. I always use my emotion as a guide...how
do I feel about this melody, this chord etc. Writing with a matrix is also fun
since you can develop hidden codes like using peoples names and such. Some of
the riffs you hear on Apollo Ends are just the same ones played backwards or
inverted. It is all strewn together somehow. I will always use whatever sounds
I can find to make Sculptured what it is. I will use many methods, instruments
and different musicians to make the music the best I can. The music must always
be fresh and above all exciting. Using a matrix is one way, of course writing
in a desired key is another, inverting riffs and melodies is another,
superimposing time signatures or key signatures on top of one another is
something I want to explore more. There is always something new to try.
6. Progressing from the above question -
what are your thoughts, if any, on maintaining a level of creativity in music
that is both always pertinent to your time or surroundings and flexible enough
to allow the exploration of your own talent? Should musicians always be trying
out new influences or methods of playing in order to keep their art viable
and/or original - or does this only apply to certain types of artists? Which
musicians have been the biggest influence on your playing and your approach to
composition? Are there any artists or specific works which you would recommend
to your audience if they were interested in gaining some insight into the
influences at work behind Sculptured? Can you expound, for a moment, on the
ways in which jazz influences, for example, can be successfully incorporated
into extreme metal? What would you say to people who constantly reiterate that
metal music must be 'kept pure', free from outside influences or genre
cross-pollination?
People who think like that can keep listening
to the same damn death metal all their life...I don't care, I don't write music
for them. As far as Jazz goes, I think it can be great in enriching the chords
bands use. For such a long time the root-5th "power chord" has been
the chord for Metal. I think Jazz can be helpful in expanding on that by adding
a 7th to the power chord or a 9th, a 6th whatever. I use a lot of chords like
that, and that definitely comes from my appreciation for Jazz. This then lead
to the Matrix method which is really just a downsized version of 12 tone
composition. I think it is vital for musicians to always experiment. Artists
should lead us as a civilization into the 21st century. If art stagnates, how
is life worth living? That may sound dramatic, but I think it is true. The
musicians and composers I have taken ideas from are people like Anton Webern,
Charles Ives, John Zorn, Ennio Morricone and obviously metal groups like Iron
Maiden as well as bands like Mr. Bungle and Pink Floyd. But, I also find film
to be extremely influential on me. I love the works of David Cronenberg, Sergio
Leone, Lucio Fulci, Dario Argento, Federico Fellini and Woody Allen. I think
Cronenberg especially is a big influence on my lyrical writing. A lot of his
concepts I find inspirational, frightening and they often touch a nerve with
me. For example the whole biotechnology side of his films. A lot of my lyrics
are centered around combining the flesh with nature as a way of escaping
technology which I think when meshed with the human body could be disastrous and
Cronenberg shows this in films like Shivers, Videodrome and many others. I
think for people to really understand Sculptured they should watch Videodrome
and then listen to Webern's Symphony op.21.
7. Were there any distinct events that
inspired the lyrics and themes on 'Apollo Ends'? For example, in the song
'Washing My Hands Of It' there seems to be thinly veiled references to actions
that could or could not have actually happened. Are these reflections on things
that transpired in your own life, or stories made from all kinds of different
experiences? Do you find that writing music is an effective method of catharsis
for you - that it helps you to come to realizations concerning events in your
own life, or deal with things that you could not handle in any other way?
Yes, there were events. The sickness element
is very true. I feel sick a lot, and it is especially terrible for me late at
night. Things seem so hopeless then. I have thought and psycho-analyzed why I
feel sick. I don't think I am an unhealthy person. I think a lot of it is
created mentally. I am really obsessed with the digestive process and I think
when I dwell on it, I become paranoid. I also have trouble sleeping after I eat
and this causes me to feel sick. In the lyrics I wanted to link this feeling
ill as a warning of the coming apocalypse. Some animals can sense in their
bones when a storm is approaching. I wanted to create a similar situation. I
don't think it has been a terribly effective cathartic process, I still feel
sick. I hate being sick, it's claustrophobic. Its helpless. What can you do?
You have to exist in your body, you can't leave and wait for the sickness to
pass and then come back. I wish I could. But, I am bound to get sick. Everyone
is. Like David Cronenberg says, "Why should the body die if the mind is in
perfect shape?"
Don and his band examine you...
8. If you think your music is a powerful
form of emotional release, how do you feel about the fact that other people are
listening to your music and drawing forth completely different lessons or
feelings from it? Is this just one of the flexible characteristics of abstract
music, and something that must be embraced? Have you ever found yourself
writing music as a sort of 'revenge' against experiences or people in your own
life (much like your label-mates Scholomance) - in order to gain some measure
of power over what may have happened to you?
I think the fact that many people develop
their own interpretations of the music is great, and I have no trouble with
that. I have my own interpretation ideally because I wrote Apollo Ends, and I
hope that some of the original feelings that I put into the lyrics and music do
successfully communicate and aren't completely lost on someone. But, if people
take those feelings and relate it to themselves and create a different,
customized interpretation that is wonderful and is certainly one of the rewards
of complex art. I have my own interpretations of songs from bands like SWANS,
Current 93, Devil Doll and so on and they are personal because I relate them to
myself. But they may be completely different from what the songwriter is trying
to communicate. This whole ordeal could be seen as tragic or enlightening from
the point of the artist. I choose to look at it more positively. As far as
revenge, yes definitely. One of the reasons I like to write with such dissonant
chords is to make people uncomfortable. I like it when people review Apollo
Ends and have said, "I just don't get it, this is senseless and the notes
sound wrong". I hope the next album makes them deaf! (exactly! - ed.)
9. What, to you, are the most important
elements for a 'progressive' band to emphasize when it comes to the music
itself? Is the overriding ethic of 'progressive' music the fact that a large
priority must be placed on remaining original, no matter what the cost to the
integrity of the music? Are there other ways to ensure 'originality' in music?
It always seemed to me that as long as musicians played from the heart, and
were true to themselves, they couldn't help but be original and successful in
their own right. In the race to stay original often musicians find themselves
lost in uncharted territories where they are supporting a vision that has
become alien even to themselves - is this a danger of unlimited progression?
Isn't true progression really just the ability or desire to keep exploring your
own personal well of expression, and not settling for music that has become
'comfortable' on an inner, unconscious level?
I think
all people are different. Thinking this, I would think that any artist who
follows his/her own feelings and is confident will be able to produce something
different and worthwhile that will contribute to the development of their
craft. Experimenting should never spoil the integrity of the artist or music. I
always believe that the song comes first. Everything should be done with the
song in mind. Once music becomes a vehicle for simply experimenting or becomes
something you base philosophical concepts on then I think the artist has
clearly lost sight of what music is really about. I think someone like the
composer John Cage is guilty of this. Some of his works are fantastic as ideas,
philosophy, but he communicates these ideas musically and I think there is
something lost there. For example, his famous composition 4'33 is a great idea,
it's very enlightening. The concept of music being perpetually made by sounds
from nature, industry, natural ambiance and the importance of silence as a
viable means of musical communication is enlightening, but I don't think the
work is all that great to listen to. It's a philosophical statement using music
as a vehicle and I think that is just plain foolish. John Cage made some great
music and was an important innovator and I like his works very much, but
sometimes I think he is the perfect example of someone who got so caught up
with experimenting that the music suffered. I would agree that progression is
simply exploring yourself, because in the end music and all art is a reflection
of the artist. As long as you explore yourself and use yourself to write music,
what comes out should sound like you and no one else. The only dangers are
being foolish about it.
10. And
the last question: what can we expect from Sculptured in the future? Are you
working on new material right now? Will there be any radical changes in the
direction that you are on with your music? Is there anything else you would like to add for our
readers to see?
I do have some new material and it is too
early to say how different it will be from Apollo Ends. I hope the next album
will be different enough to stand on its own...to have it's existence justified.
We have just finished recording a cover by the band Goblin from the film
Suspiria directed by Dario Argento. It is the main theme of the film. This will
be on a forthcoming Goblin tribute album and will probably appear on the next
End Records comp. I plan to use film as a big inspiration for the next album.
The new song I have written is based on The Brood, directed by David
Cronenberg. Other than that, I just want to thank you for a fantastic interview
and for the support. Thanks!