Spaceman interview
Hello! Please introduce Spaceman to our readers.
Yo. I'm Spaceman. I make crazy schizo alien technical thrash wacko metal. The kind of music that won't get you laid :3
Can you tell us more about Read Only Memory?
After Vapordeath, which I wasn't too happy with the results of, I wanted to go back to the more extreme tech stuff. I wanted to incorporate more dark, industrial, gritty electronic sounds, inspired by an obscure Meshuggah side project by Fredrik Thordendal called "XXX Atomic Toejam" (yes, that's really what it's called; they only made 3 songs, but I really like the style and wish they released a full-length). I did a lot of experiments with guitar harmonizer sounds as well (This Isn't Just a Dream is a good example). Most of the actual harmonized lines outside of that track and the middle of New Plague are all done manually, though.
When did you start writing music and who were your early passions and influences?
I've been writing music in a way since I was born. As a child, I would hum things and """compose""" in my head. Eventually, I found MIDI software and would write things; none of that has survived, though. Metallica was pretty much the only band I listened to until I was about 14. I listened to the first 2 Annihilator albums and "By Inheritance" by Artillery as well.
I found Dream Theater at 14, and then the next band I got into was Sieges Even, so I really went off the deep end very quickly. Don't worry, I'm not super into Dream Theater anymore.
What are your main impulses for writing metal music?
Most of everything I write, I want the listener to be confused. If you aren't thinking "WTF is even going on", I'm not doing my job. For the more metal stuff, I take primarily from thrash/tech thrash, as well as death and groove metal.
What do you personally consider to be the most significant moments and pieces in your musical work?
I think the guitar solo from Dimensions (I, not II) is one of my favorite moments. Cog in the Machine is an execution of something I wanted to do for a long time. Universal Despair and Microchips off Ascension, I think, are great tracks. Begin Again from my latest album, "Neon Dreams of Sleeper Agents", is probably the best and most representative thing I've done, but it's 26 minutes long, so that's maybe cheating?
How would you describe and rate the music scene of the city you are currently living in?
I don't go outside.
When it comes to being a musician, what are your criteria for quality? What are your main challenges and ambitions as a musician?
I think it's about bringing something new to the table that no one else is. We don't need another generic metalcore band, we don't need another "80s thrash revival", we don't need to rehash what's already been done. I also think musicians who care more about making the most """perfect""" sterile hospital room production, rather than just making cool heavy music, need to give up.
What do you usually start with when working on a new song or lyrics?
It's always different. I don't have a formula.
Please tell us a bit about the selection process for deciding what to write about. What sources do you draw from for research purposes, and how much time do you generally spend on research and gathering material?
I don't really care about lyrics that much. More of an annoying thing I have to do than something I care about. I usually come up with a rough idea, then vocalize some words and phrases that touch on that idea in a stream-of-consciousness kind of way. My only real lyrical influence, I would say, is Brent Oberlin of Thought Industry.
As more and more people produce and release music, there has been an exponential growth in promotion agencies. What's your perspective on the promotional system? To what extent do you feel it possibly undermines musical freedom?
I don't really know too much about the system, but what I do know is I've been doing this for a long time, and the only thing I feel I'm still lacking is promotion.
The metal scene has changed considerably over the past century. What, in your opinion, could or should be new forms and formats for music? Should we preserve the old-school spirit or move forward together with musical "evolution" (or "degradation")?
I think we need to move forward, but still make sure we keep the spirit of metal, and heavy music, alive. I'm tired of all these new-age core bands that sound especially crafted for teenagers who self-harm. That isn't heavy, that isn't metal. I think we need to be careful of stagnation, though. Things quickly get boring.
Music-sharing sites, blogs, and a flood of releases in general are said to be killing music. What's your view on this topic?
I have no opinion on this.
Please recommend two bands to our readers that you feel deserve their attention.
I think my most obvious influence is Watchtower and anything Ron Jarzombek has done, but I'd imagine most people listening to me know about them. I think Thought Industry is a band that deserves more attention, especially their first 2 albums. I've also been listening to a Mr. Bungle side project, "Secret Chiefs 3". I think they are really cool.
What are your plans for the near future? Thank you and see you next time!
I'm already working on some new music. I can imagine at least one more album coming by the end of the year. I don't do much else, so I make wayyy too much music. Thank you for the interview!
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https://spaceman11.bandcamp.
