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Lord Leviathan is an artist of many mediums hailing from Belgium. I have recently had the pleasure of working with one of his musical projects, Defractory, for a remix project that is currently in development. His creative efforts extend outside of the musical world and delve deep into some incredibly interesting photo/graphic work as well. Using what he has described as the “chaos engine” Lord Leviathan puts together sound collages that must be heard to be believed. A good starting point: Follow the signs to dig deeper.
You have multiple projects such as Defractory and different versions of Zaxophone. Why so many and what do you hope to achieve with each?
Well the original Zax-O-Phone was a first experiment in audio. It was a short piece that I made to accompany my S.D.C (SayTANic D-comPRESSæon ChambE.R.) installation. First steps really. I recorded banal sounds and tore them out of context whilst combining them with poetry and encrypted messages. It’s not unlike a collage, yet it has more personal input and the pallet of choice is larger. Zax-O-Phone incorporates a lot of chaos magic based principles combing various occult elements and psycho... analyses amongst other interesting concepts. Using (dis)information to "mould" my own ritual chamber so to speak. The Second version, A God < 2 Rot was made with the same set of principles but with a more prominent cinematic inspiration which eventually it led to my very first attempts at video experimentation. The third version, The Wall Has (f)Ears is mainly a tribute to H.P. Lovecraft and demonology. In a sense, Zax-O-Phone has served it's function. But can always be revived or extended, should the need rise. Defractory is a separate project for re-mixes, collaborations and experiments that venture beyond Zax-O-Phone. The best way to describe it would be a clash between DaDaism and Fulci. Satirical horror with Kaos magic(k) and occasional use of real instruments. Some long term projects have also been launched under the Defractory. Putre et Solve is my latest auditory project. In a sense the next evolutionary step of Zax-O-Phone. The cryptography is raised to a higher level, and it's construction has matured. Some tracks tend to sound like glitch lullabies while others sound like explosions of noise. While Zax refused to sterilize the 'unwanted' sounds, Putre et Solve cherishes them and exalts them to mesmerizing melody. Over all PeS is a soundtrack to Romanticynic S(o)urrealism - the common denominator of my work. Putre et Solve creates keys - codes – to (un)lock certain levels. However the exact results oV tHeE transformation are not always fixed. PeS is much like alchemy with the exception that it is not a quest for dogmatic illusions of perfection. It is a quest of the uncomfortable alternative aesthetic in all it's (in)perfection.
What made you initially decide to sit down and start manipulating sounds with the original Zax-O-Phone experiment?
I wanted to make an environment. I had already constructed the walls, tablets and altar. I found a dark setting. But I wanted to involve more senses to the experience. I was not to perform any public rituals in the ritual chamber I had constructed. That was the big disappointment for the Hollywood crazed spectators who were quick to toss concept aside to see what THEY wanted to see. Basically the reaction was good indicator of their creativity – or often, their lack thereof. Oh- how they would have loved to hear the sound-tape of a snuff film, or the reciting of a black mass... However the audio did, in a way, set up a ritual of its own.
How long have you been pursuing the audio arts?
Not long really. I think started somewhere in late 2004. So the back of my ears are still as green as toxic goo.
What is the chaos engine?
A mental machine in every way. Some people call it a metaphor while others believe it to be a stream of consciousness or an actual physical vessel. The paradox with constructing a corporeal or digital chaos engine is the fact that you have to build a structure in order for it to produce chaos.
Your work carries a lot of emphasis on symbols and the esoteric. What is the importance of these elements to you and your work?
I'm quite fascinated with symbols and archetypes. Especially how they are morphed, used and abused for different purposes. Before I had much notion of esoteric symbols I noticed some symbols or subliminal messages, spontaneously popped up in my work. From a very young age I made several codes. It's quite silly to make a rebus if there's only one answer. That's not what I'm making. Only Hollywood is dead-beat linear. I don't believe there is one solid truth. There are always multiple angles and symbolism tends to reflect that in a simultaneously primal and elevated level. I don't just utilize occult symbolism, I weave my own system.
You seem to inject the external physicality of reality into your work. Are you searching for something within yourself when you compose your sounds or is it all material? Do you consider yourself a part of your work or do you separate yourself from it? Is your work (mentally and/or spiritually) therapeutic for you?
Everything you make has some portion of you energy to it. Even one 'gear' in a graphic design company puts some part tiny part of himself in a commission. As to its therapeutic value. I'd say yes and no. I make a lot more material, strictly for private use. I don't pour my personal life clean-cut into the things I put on the web. And even if I do they spontaneously undergo coding. I've created my own set of myths. So even if I was saying something quite clearly, you would be a fool to interpret it just as it is. If I see myself separate from my work is an interesting yet very complex question. I'll keep some sanity and save you several gigs of bandwidth and put it like this. Only the artist knows where his work begins and ends. I don't think that's a fixed thing. If it is you might call yourself an ink-jet printer. Mutation, especially on a personal/artistic level is intertwined and one of the most fascinating aspects of creating.
What are some artists/bands that influence you?
Bands like Dark Infinity, Psychonaut 75, Lustmord, NiN, Aphex Twin some Psychic TV made me realize ‘electronic' isn't always a mere shallow BPM copy-paste bore.
What are you trying to capture/say in your visual manipulations?
See if I told you that, I could just pack up my camera right now. - No, seriously. Most of my work reflects a dream-state. If I had one defined message I WANTED to get across I would hand out free bumper stickers. I think I should allow the viewer to find their own meaning instead of acting like a totalitarian brat. Bill Viola once said "to explain a work of art completely is to destroy it completely.” You might notice some similarities to alchemy here.
You have mentioned to me on a previous occasion that you do not consider yourself a musician. Why is that? And what do you think constitutes as music?
I never set out to make music. I wanted to make that clear and called it AuDiO VaNdAlIsM from the very first day. I know definitions and labels wallow in compulsive and inept attempts to sanitize art. I merely don't call myself a musician because it's not my dream to 'do gigs' all over the world, nor to play guitar solo's and have some platinum album. I'm not saying every musician harbors these dreams (however the majority secretly does). I haven't studied any instrument, but I can respect those who have mastered one or more. I'm not doing this to 'rebel' against music. To define music is not as subjective as to define art. Some would call music art- while some would only select their preference as the artistic elite and label the gross as "entertainment". The same can be said about fine art. You have expresses not to be a rusted 'lobot'. However most people out there are not as free to ponder over music in sense broader that Christina Aguilera. I simply don't want people to confuse what I'm doing with and attempt to belong to the white-washed general definition of music.
What does the future hold for Lord Leviathan? What can we expect to look forward to?
Several things. Also an ofic(t)i(on)al site in in the works...I'm working on building the Dream.cam.era, dR3AM st.R3AM library and audio pieces, and in April Bone Structure will be releasing my Limited edition hAx5M°DUS cd. This will be the first physical Defractory Release.
What are your dreams in and outside of your audio vandalism?
I would tell you, but they could wake you up.
Care to share any words of your own?
Subconsciousness over conscience!
- March 2007 by Jason |
