INTERFECTOR PROMOTION SERVICES/Artur Olejarczyk ips-office@go2.pl -------------------------- 1. Hi Radek! The last one, very important, your release is split with Merzbow. Could you tell us how did it happen? Do you satisfied with this material? Do you plan more split with Merzbow in the future? At first a big hallo to you, Artur and to all readers! About the split CD w/MERZBOW: MERCILESS CORE records (mercilesscore@worldonline.cz) offered us a split release with some japanese band. They planned to do it with the GEROGERIGEGEGE, but there were some problems(?) about 7"EP i co-released with VIEW BEYOND rcds, more Juntaro was too slow in sending the stuff. Mr. Masami Akita send me 20 minutes of digital noise for the planned split-LP on EPIDEMIE rcds (http://epidemie.webpark.cz) we talked about too, but because of some finnancial reasons that action was canceled. So I ask Mr. Akita for the next 15" of sound and complete work was offered to boys from MERCILESS CORE rcds. CD release was delayed again, they were low on money too, so I'll co-released the split-CD with them. They gave me free hand on the realisation, so the artwork is completely done by me. I like the final work very much. The split-CD is packaged in the normal jewel case, but I think the multi-colour cover print is different from normal (my own strange style as guys in printing plant said). Each press of 500 CDs will have different covers. No plans from me to do another split with the MERZBOW. Maybe someone think about that. There are other good noise artists in the Japan as like Kazumoto Endo, etc... 2. What is special in Japanese noise that it reign on that scene? I don't know the actual situation on the japanese scene. Of course I have got many old releases in my collection (INCAPACITANTS, MASONNA, MERZBOW, GEROGERIGEGEGE, HIJOKAIDAN, VIOLENT ONSEN GEISHA, CONTAGIOUS ORGASM, K2, S.CORE, THIRDORGAN, AUBE, KIYOSHI MIZUTANI, K.K. NULL, ...), some new acts on EPs and tapes (HACHIMAN MAE, PAINJERK, KAZUMOTO ENDO, MOOD NANAMENICACA, GUILTY CONNECTOR, MSBR, GOVERNMENT ALPHA, ECHO SYSTEM, ROBOCHANMAN, ...), but it is really hard to go to the deep of the new underground scene there. No communication from the well-known labels and artists, no interest in the foreign sounds. I tried to contact them several times, I sended them our releases as well, but no response til now. Of course not problem, I found other good noises around the world. Same situation with the japanese HC/punk scene. They are very closed to itself or what. I love the japanese weird way of musical production, raw system of sound and thinking. I'm possessed by them. Many different music in my collection, so I'm a bit sad about that. 3. V/A Anomalous Silencer #5 has been released some time ago. What could you tell about it? What is response of people for your series? When do you plan to emit next edition? How do you choose bands to contain on it? ANOMALOUS SILENCER #5 was delayed for a half year/+, because I wanted to run new series called MICRO.MEGA.PHONE on 3"CDs. But there weren't interest from artists in that project, so I re-start the A.S. series again... Now all is in the old line, people, bands and artists know that A.S. lives. I got not too many responses, except bands themselves and a few reviews. It is small edition of #500 copies only. Compilation is done by self-payed system, self-distributed by the bands. We help together to spread unknown experimental artists around us in small areas... I feel a bit the Anomalous Silencer's family grow up, some artists are interested to join next issues more and more. I try to do the each edition at my best! Be sure it is very hard to find 80 minutes of sounds. Many bands don't want to pay for the contribution, some interesting and tallented artists are poor or from the lands with bad economics, but I can't do the compilation other way. Sometimes in the future I'll do some free-enter compilation, so may be I'll remeber (I'll try) all the active people in the scene (I think you know, who you are...). 4. Napalmed it is also huge distribution. What can we find there? I know that you`re not only noise-fan. I run the distribution for a long, long time. I like "all" sorts of uncommercial ‚sounds' (jazz, garage rock/pop/punk, minimalism, world/ethno music, czech music 60s-now, rock, metal, core, ... interesting aural culture at all), therefor you can find the same styles in the catalog/distribution list. I helped to those, who helped me too. Distro runs mainly under trade system, which I found simplest way to help to each other side... That is most useful for unknown bands, and for NAPALMED band as well too. 5. How often do you record Napalmed`s materials? Usually noise bands have appaling amounts of released stuffs. Do you prefer splits or author`s records? Not a special plans about recording sessions. I prepare all the equipment when I feel some ideas. It matters on the inner feelings and a free time. There are wide sound spaces, unknown possibilities of the equipment, combinations, etc for me. I learn each recording session or live performance something new, therefor I like to do that. I'll stop that when I found it boring, empty, ... but it isn't the right time now... Not matter if the release is split, D.I.Y. or pro-release. Only thing is to do all as good as possible. I really don't like bad soundeditems with shitty xeroxed covers. Other thing is, most of the compilations we sended the track out was never released or I never heard from the labels. Very sad too. 6. How looks like your performances? It is very similiar to the home sessions, except the nervosity and different/complete line-up. I prepare a raw conception, connect all the things and we started to do the sounds. It is a bit conducted by me, but each member put his own feelings on the stage. 7. How did it happen that you started with noise music, at all? It is spoken that people play noise because they cannot play traditional instruments. Why noise isn`t percepting like form of electronic music? I started NAPALMED in the mid. `94 as a band with the three musicians (2x bass & drums). It was kind of impro-noisecore, because they play abstractly, but PLAY their instruments. I feel it isn't the right way I want to do. The sound was too musical, people stamped to the ‚rhythm', etc... It was/is hard way to find the right noise... Now in the line up is only one musician, the drummer Martin Beraxa. Not problem if he plays rhythms or structure on the metals, because I manipulated and destroyed all the sounds... The rest members, inc. me don't play any instrument, don't know anything about the musical art, except the listening to it. I don't care if the pure noise/industrial is a form of whatever. Of course there are good combinations of music and industrial sounds, but this is still MUSIC. I love the abstract sounds, that strongs, deepens my fantasy and free mind. 8. What with future of Radek Kopel and his projects? Could you tell more about your plans? No extra plans... to do the NAPALMED activities best I can, spread our noise around the world, communicate with the other people, listen to the new MUSIC and SOUNDS, ... 9. Thank you for an interview. If you would like to add something feel free to do it. Thak you too Artur!!!!! Greetings to all my friends all around the world! All the others feel free to contact me and start some collaboration.