Archive | Νοέμβριος 2013

Get to know: Job Karma


Από το ενδιαφέρον, βέλγικο peek a boo magazine (Kurt Ingels), μια διεισδυτική ματιά στον «σκοτεινό» κόσμο των Job Karma, και όχι μόνο…

Can You please shortly introduce the bands Job Karma and 7JK to our readers?

M: JOB KARMA is an audio-visual band formed in 1997 in Wrocław by 3 friends – musicians: Maciek Frett and Aureliusz Pisarzewski and a video artist: Arek Bagiński. The group released 6 albums (in Poland and Italy) and tour regulary in Europe. Our music has evolved in those 15 years, from dark ambient industrial landscapes to rhytmical structures. But I think the best description of our music is: the movie for the ears.

7JK is a trio, an english vocalist and a violin virtuoso Matt Howden known for the audience as a SIEBEN and a part of Job Karma: Aureliusz and Maciek. We released our studio album «Anthems Flesh» in Mai 2012. The music is a mix of looping violin and warm vocals with electronics and an industrial edge.

What is the main difference between the 2 projects and what are the similarities?

Aureliusz: The main difference is the fact that 7JK is the new project and the result of the cooperation of two bands that exists on the scene from many years. Job karma has been found 15 years ago and has its formed style and message. When you consider the musical sources it is an electronic project with visuals integrated. In 7JK we mixed using of live instruments with electronics, programming and Matt’s vocals. From the artistic point of view some people may look in 7JK for the musical synthesis of these two different projects but I guess it is the result of two different attitudes of creation and brings new quality and musical value. This is what we intend to do.

How did the collaboration with Matt Howden (of Sieben fame) see the light of the day, and what is the main goal for this band? Would you still consider 7KJ as an industrial concept and how do you combine two different musical directions as neoclassical en post industrial music?

A: We’ve known Matt from several years now. Our friendship begun in 2004 when he appeared with Sieben and HaWthorn concerts on the Wroclaw Industrial Festival. In 2005 we toured together in Poland. We started to play live together on some Sieben and JK tracks since then and finally came to the idea that we could record some EP material. After exchanging some of the musical ideas, we all found some deeper idea and pleasure of working on it. His live instrumentation with our electronics showed different dimensions. The ideas spread out quickly and soon we had the material for the first CD. We all are convinced that the “Anthems Flesh” is just the first step. We don’t consider 7JK as industrial concept. I think now Job Karma isn’t strictly industrial too. Too many musical and live influences worked for it through all these years. What is common for both projects is melancholy and emotional concepts for the music. The musical tools have the secondary meaning. Also the good relationship and understanding between all of us are necessary for creating and making music. That would be the foundations of 7JK.

The music of 7KJ sound as a soundtrack fro a movie that still has to be made… would it be a drama or thriller or horror movie… or something completely different.

A: It is hard to refer to this as I don’t have the proper distance to our music any more. I know every single sound and it is not so easy to stand beside this and take an impartial look on it. I guess this impression is provoked by the fact that the album is very eclectic and you can find a variety of tempo, tone, ambience and rhythm there. Or maybe you can catch some of Job Karma’s subconscious influences – we were described many times as “cinematic industrial” so maybe this is it … So I guess it would be the movie with dynamic mix of emotion and action.

Visuals seem to be very important in the Job Karma project, do you see music and visuals as a whole, enforcing each other and therefore as an art concept? In other words can the music of Job Karma have the same, intense effect without the visuals?

A: Job Karma is an audio-visual project in general and I hope our live shows will convince you. All the music and videos are not accidentally arranged. One is the result of the other. It shows common story of the state of contemporary civilization issues on many activity fields. However we are not strictly limited by this idea and all our releases are just music tracks. Anyone can project his own pictures for it. We distinguish these two kinds of perception and I hope both ways gives different respond.

Who is responsible for those videos?

A: All the videos are drawn, directed and produced by Arek Bagiński. We strictly cooperate from the beginning of the project. He is a graphic, performance and video artist. As you can see he produces animation as well as movie clips. All fills up the music perfectly for us.

Is there a visual approach to support the music of 7JK too?

A: We will see. This is the beginning of our work with 7JK so nothing is decided. As we experienced from Job Karma activity – the production of visuals is the serious task and it should be well made and prepared. We wouldn’t use accidental movie scraps. For now we will just use the compilation of pictures we picked for our CD booklet. So maybe the visuals won’t be necessary at all as we work on a different artistic message in it. Time will tell …

Could you explain the deeper meaning of the 2 band names?

Maciek: I know 3 different but at the same time very interesting intrepretations of the name – Job Karma: You can choose which one You like the most 🙂 First as a bad karma of a biblian Job, second a karma of one being brainwashed by the slaver job in corporations in the name of „success” and „career” and third interpretation is the strongest one: «Job» means «fuck» in russian so in that case it would be fucking karma 🙂 7JK is simply a combination of our two bands names: Sieben and Job Karma

By how far is Job Karma a statement to modern society? In other words a political discourse by means of performance art…

M: On some of our releases (especially on our concept albums like Tschernobyl, Strike) we tried to deal with the subject «problems of the modern world». But all our thoughts and statement in this matter is very much visible in our every year multi-media project RITUAL. The originator of this event was Arek Bagiński. Till 2012 there were 7 editions like: «Man-Religion», «Man-Machine», «Holocaust», «Man-Media», «Society-Nature», „Man-Health». Every action is realized in a different spaces and surroundings. We spent 3 days in Chernobyl, performed in a gothic cathedral, an active heat and power generating plant, a swimming pool that used to be a synagogue, a closed hospital etc. In each of those places we made a movie and/or animation which later became a part of Job Karma shows.

I read somewhere Job Karma should be heard and seen as the artificial translation of the annihilation of mankind from its true being, drugged by false values of modern society, religion… Do you agree?

M: I like this interpration – in some part it reflects our intention. But I also think that if you listen to our music without the movie context it might create a very individual and abstract association – and that’s most important for us!

Job Karma is a Polish band, I happened to be in Poland (Warsaw) this summer but their was no immediate evidence of a dark alternative scene… Is there any, if yes can you tell a bit more about it… other interesting bands, places to visit,…

M: To be honest Warsaw is a good city but only if you are interested in earning money or working in corporations. If you want to visit places where the dark scene is very visible you have to come in November to Wrocław and you have to visit our Wrocław Industrial Festival. We have been organising this gig for 11 years and for this year we invited Boyd Rice/NON, The Klinik, Section 25 and many many more. In the summer there is a Castle Party Festival in Bolków (70 km from Wrocław) for electro-gothic fans. The local music scene is developing really fast and in an interesting direction – I know many good polish projects, bands – you can get information about them from magazines like: printed “Hard Art” or from online zines devoted only to the alternative dark music scene. The bigger problem is with organising concerts.: 10-15 years ago you could easily plan tour in Poland and you would play in 8-10 cities. Today you’d find maximum 3 cities interested in inviting dark alternative artists.

But Poland is also amazing if you want to come and simply be a tourist here. It is a country where you still can find wild and non crowded places, mountains, lakes, rivers or empty beaches at the see. If you are looking for interesting industrial landscapes and architecture you can visit closed coal-mines, empty factories, no mans – land (lately even David Lynch came to Poland to direct his movie here). It’s a really beautiful country with a very interesting and specific past.

What may the audience expect from Job Karma and 7JK on the Bimfest festival? And which bands do you want to watch yourself?

M: Job Karma will present tracks from the last 3 albums and of course movies and animations so it will be a truly “dark movie for the ears”. 7JK will perform material from our debut album «Anthems Flesh» so you will have a chance to see what happens when the neofolk meets postindustrial electronic 🙂
To be perfectly honest with you – I want to see all bands. There were few bands I didnt’ know before but I watched them on the Youtube and they seem to be great. The rest is known for me and I like them very much. I’m curious about who would be the headliner. But the line up so far is really fantastic!


Η απόλυτη αρμονία συνύπαρξης…

Οι Albatrosh ερμηνεύουν ζωντανά το «Major Little» (André Roligheten) και κυριολεκτικά μαγεύουν:

Εικοσάρηδες τζαζίστες από την Νορβηγία, με πολλές αξιώσεις!



Όταν το νεαρό της ηλικίας, δεν σ’ εμποδίζει να μεγαλουργήσεις, τότε θα πρέπει να σε ‘φωνάζουν’ Albatrosh.

Από το (John Kelman)

«2012 seems to be a year of change for many artists. Not so for Norway’s Albatrosh, the duo first heard while still in school and before they’d made a record at an overnight stop in Rosendal, as part of the 2008 JazzNorway in a Nutshell junket. Paring back to the core duo that first released Seagull Island (Inner Ear, 2009) but expanded to a quartet on Mystery Orchestra with Grenager & Tafjord (Inner Ear, 2011) might seem a step backwards for pianist Elyolf Dale and saxophonist André Roligheten, but a new label and a change of scenery finds Albatrosh still growing, while retaining the strong markers that have defined this duo since its inception, when Dale and Roligheten were still in their teens. 

If the intrepid Albatrosh continues to reference saxophonist Dave Liebman and pianist Richie Beirach’s longstanding partnership—in particular Roligheten’s expressionist tendencies and predilection for gritty multiphonics, as well as Dale’s unmistakable roots in a classical tradition—it distances itself from the four decade-old duo with an approach that treads an even greyer line between complex compositional constructs and unfettered spontaneity. Liebman and Beirach may have their code, but so, too, do Dale and Rolegheten. Those who continue to unfairly accuse artists from outside the United States of not being sufficiently in the tradition will find little to change their minds in Dale’s impressionistic «Central Park.» But while «Pickup Truck» begins with a knotty unison line bolstered by relentless left-hand arpeggios, when the duo suddenly breaks into a fiery swing halfway through the tune, it becomes clear that Albatrosh is absolutely of the tradition, even as it looks to push and pull it beyond recognition elsewhere in the set. 

If the all-acoustic Albatrosh is something of a rarity on Rune Grammofon—a label that, by and large, focuses on electric music of many persuasions—it’s a move that should garner this duo additional international attention. Recorded in just one night last spring, outside New York City in the titular Yonkers, this set of original compositions together and collaborativelty by Dale and Roligheten continues to hone Albatrosh’s simultaneously serious and playful approach; there’s no denying the quirky mischief of Roligheten’s accelerating melody, played with the kind of simpatico that’s the consequence of more than half a decade playing together on the exhilarating miniature, «Fifths.»

Lithe, lean and seemingly unbound by conventional compositional form, Roligheten’s instrumental command is impressive, in turns melodic and breathy («Major Little»), viscerally piercing and slap-tongue percussive («Linedance»), and demonstrating incredible multiphonic control («Coral Fox’). Dale’s touch is pliant—light and delicate on the brooding «Pannebrask,» but capable of greater weight and dynamic extremes «Fifths»—with a seemingly endless flow of ideas. 

Together, Albatrosh makes for one of today’s most expressive and intuitive piano/sax pairings. Yonkers is another winner from a duo that may still be young in years, but whose reach and ability to work within and without the jazz tradition belies its youthful age and, instead, makes a strong case for partnership and the commitment to finding a collective voice that transcends individual strengths to create an unbreakable yet ever-pliant bond.»

Από το site της Guardian (John Fordham, 4/5) ακόμα ένα κατατοπιστικό review:

«Albatrosh are the twentysomething Norwegian duo of pianist Eyolf Dale and saxophonistAndré Roligheten. Star composer Maria Schneider hailed their «great interplay and amazing improvisation, effective and colourful compositions» when they won the Best Band prize at the North Sea festival in 2009, and this third album illustrates what she meant. Sometimes they operate in a subdued free-improv space populated with sly multiphonic sax sounds and tinkling piano, sometimes they are quirkily dynamic, and the balance between meticulous, integrated composition and improv freedom is imaginatively struck. Pieces such as Linedance and Pickup Truck rattle through fast, intertwined postbop melodies bristling with percussive sax blurts and cop-show piano rumbles, while slow features such as Central Park and Pannebrask explore deep, sax-ballad sighs or tone-bending meditations. Both players are formidable improvisers, but the quality of their compositions makes that task easier – it’s a combination of elements that suggests the sax/piano conversations of Julian Arguelles and John Taylor.»

Η αναφορά του Wire στο παιδί-θαύμα της Fonal!


Δεν είναι δα και λίγο να είσαι μόλις 7 ετών, και να σε αναφέρει το έγκριτο μουσικό περιοδικό Wire. Ο λόγος για τον Eelis Mikael Salminem aka Eeliks:En.

«Sami Sänpäkkilä’s Fonal label, home to Islaja, Kemialliset Ystävät, Paavoharju and others, is releasing an album by a seven year old boy. Eeliks:En (aka Eelis Mikael Salminem) started recording the album on his dad’s iPhone, singing in a mixture of gibberish and English. He will not be playing live he says, because «I don’t want to be Robin»

Από το εξαιρετικό compilation Istanbul Calling vol.2

Οι Norrda στο «Infinite Face»:

& οι Mira στο «Bir Gun Gelir»:

Εξαίρετη free-jazz από την Νορβηγία!


Όταν το έγκριτο JazzTimes, φιλοξενεί μία τέτοια διθυραμβική κριτική, (Chris Kesley), τότε τα λόγια περιττεύουν:

It’s been ages since I last heard a rock/free-jazz fusion 1/10th as good as this. Norway’s Crimetime Orchestra is a 10-piece band composed of five horns and a rhythm section heavy on the electronics. Consisting mostly of a suite in seven sections and recorded live in the studio, the album balances gritty spontaneity with just the right amount of preparation. The horn writing by tenor saxophonist-composer Vidar Johansen is complex and requires a certain amount of precision, yet the tightness is nicely offset by a loose, free-improv vibe.

There’s a heavy rock/noise component to this music, yet it breathes freely, thanks largely to the energetic and flexible drumming of Paal Nilssen-Love. The electronic effects by guitarist Anders Hana, synthesist Bugge Wesseltoft and double bassist Bjornar Andresen are a defining element. They’re grating and harsh, but in an entirely musical sense. Not gimmicky at all, they’re an organic part of the whole, intelligently used. The solos are excellent (altoist Jon Klette shines), and the energy is high. This is a bracing listen-an exceedingly well-done attempt at integrating the electronic with the acoustic, the groove with the free.

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