Saturday, September 02, 2006

Interview with BUkkaKe Master.

Bukkake Master has released his own music projects in the US under fecal matter discorporated and Kinetic Sleaze, though little is known about him in his hometown of Malaysia... Creating his own brand of porno grind when he was only seventeen, we chat about....

Tell us about yourself, your origins and a little bit about your life and your environment, what you're currently working on.

there nothing about me, or my origins, cant remember my childhood, life is about sexual encounters of all kinds, anything at all, so many fetishes so many kinds of foreplay, all of em interest me so much, currently i m not working on anything, ive been busy with life and doing other stuff

When did you form Bukkake Master, what was the motivation to form such a 'porno-noise-grind' project. What are your thoughts on the Malaysian grind/noise scene and fans and what is Bukkake Master going to contribute to the listener's world?

formed BM somewhere in between 2002 or 2003, motivation is to play ultimate raunchy drain sewer rape porno grind, and use the most obscene porno sampling to give it an edge, i dont think anything of the local scene, i m not into them, wherelse i relly dont knw what the listener is gonna feel. i did Bukkake Master for myself,

Bukkake Master (As I found out from a Spanish friend)..Bukkake= to cum on a woman's face and Master oh well, you have to explain the meaning of the moniker. Why do you choose to express your art in such a sexual manner? Sum up the sound of BM for someone who has never heard it.

i chose sucha sexual output cuz i m very sexualy motivated, BM sounds like a guitarist that dosent know how to play guitar and a drummer that was just screwing around, and vocals of a creature in a sewer.

What and how would you react to a person who was offended by your art and what would you say to them? :)


Porn vocal samples are layered over the tracks. Tell us about some of them and how you wrote and recorded the songs. There is a layer of whitenoise that invades the beginning of some tracks. How do you achieve the results, in the case really dirty sounds and are you pleased with the final products?

the white noise is probably background air sounds picked up by the microphone, since i use sucha a primitive unprofessional way of recording, i dunt knw what goes on while i m recording, i just comes out like it does, i play everything of my head on that spot, and i totaly forget about it later, sometimes i m pleased, and sometimes i just dunt know what to think of the final product.

Some people would moralize about such festishes such as Porn. Do you have any views on Porn? What is the effect you think on Porn in society and what is the fascination that is wrapped around it? Do you think there is a conflict between how society (In Malaysia) represses sexuality and the rampant underground porn piracy?

as far as i know, all the places that actually legalised porno have lesser sex crimes and then places that keep them illegal, but i dunt know, anything could motivate a sexual predator, porno helps keep one at bay, and god bless our rampant underground porn piracy, its keeping this country in sanity, i dont think Porn is a fetish it just a video of ppl fucking, everyone has different views and i dont care what they think, porno is something that should b legalised, everyone should have the right to read or watch what they please, it keeps a human satisfied without having going to the extreme.

How do you find yourself accept by the people around you in everyday living? Do you think it would be easy for Malaysians to accept explicit sexuality in your music?

well most of my friends cant really except the extremes i go to, but they do have their own fetishes, i wouldnt know what malaysians would think about about my music or the imagery i use, it dosent effect my music at all.

Some of your influences please, musically, spirutally, artistically and artwise? Top 10 bands..

my music was inspired by all sorts of fetishes, zoophilia,necro,whatever....outdoors, taboo, machines, and i play in vein of GUT but i come up with my own structures of the songs, i really dont know what my top 10 bands are, i listen to almost every single damn thing, so i gues everything might have contributed,

Would you make a good porn star? If you could would you rather be a porn director or in a really huge rock band? :)

HAHAHAHA, porno star, hmmm never thought about that, BM is not a obsession with porno but more to the fetishes, but using porno to spread the word, but i do know ill make a great director and i can b i na huge rock band at the same time, about the porno star, i think i have to see myself thru a cameras point of view,

Do you feel a strong connexion with Malaysia as your homeland. Being Indian, do you face any discrimination and where do you think Malaysia is heading in the future with the youth, politics and the music? How do you see yourself living, in this country in 5 years time?

i dunt know anything about Malaysia and politics and all, but being an indian in this country is tuff, even among other and same races, but we survive from day to day, i wounldnt know about 5 years time, i dunt know if i would live to see the next 5 years.

Fecal Matter Discorporated has put out a split between Bukkake Master and MindFuckingBoy from Singaore. Please tell us about your relationship with the label, how you got to be on it and about the split. Also, tell us about your other releases and how & where we can sample some of your dirty noise.

i think i submited bukkake master to FMD, since he was making a compilation and was calling all bands, it was the ultimate onslaught 2, from there it there and made my 1st split with mindfuckingboy, and cuz of the internet, became very close with FMD and learned lots of things from it, i only released under Fecal Matter Discorp, soo all my noise is stored there. :P FMd also sent some recordings to Obliteration (Jap).

Any other projects you have worked on or are working on?

i started if with Corpuscle, which was released under kinetic sleaze, the site seemed to have dissapeared, must go hunt him down, i m thinking of doing other projects but at current situation, everything including bukkake master is at a standstill, it really sucks.

You have never played a gig, and have avoided mingling around, why do you choose to make your noise in silence and in solitude almost? There has been no promotion etc...what has made you choose this direction? What can we look forward to from BM?

cuz i didnt like it, i just wanted Bukkake master to stand with the noise i made, thats the only identity it needed, the only reason i m doing this interview is cuz i wanted to support yer mel, BM is all about solitude and i made it in solitude, other then releases i dont think u can look much more then that from bukkake master, right high possibility of doing a masked gig in singapore,

What has been the most extreme you have pushed yourself in regards to life, art and music, what is your philosophy in life, and what is the greatest lesson that you think you can pass on (In your experience so far)

i pushed myself to many extremes, in some cases i think its gonna leave permenant damage, i have no philosophy in life, i m just lost, and the greatest lesson is that everyone is a snake.

What does it take to shock people, what will shock you and what do you think of 'shock value' :)

i dont know how to explain shock, but i totaly into shock value, its something for the adrenalin junkie with high bar extremes.

Thank you for the interview, any last words? How can people contact you?
INTERVIEW with the prolific Peter Andersson From Raison D'etre

1) First off, Tell us something about yourself and your homeland of Sweden,
and of your musical influences growing up.

My name is Peter Andersson, I am 31 years old, lives right now in a town in
Sweden named Norrkoping, and it's a pretty nice town with industrial and
cultural tradition. I was born in a small town, Boxholm, where I grow up.
Then, when started to work, I moved to the Mjolby, where the Cold Meat
Industry headquarter is now located.

After a few years I didn't feel to work
anymore so I started to study at the university in Norrkoping, on a course
called Culture, Society and Media production.

My major interests are music, film and art, as both enjoying others as well as creating my own. I have a bigger brother who introduced me into music when I was six or seven years old. I remember there was a 12"-maxi with Kraftwerk that I really enjoyed
most. I found my music taste satisfied mainly in electronic music. There was
something magic with electronic music that other kind of music couldn't live
up to, something that gave me a flow motion feeling. So, I soon started to
buy my own albums, a lot of different electronic music but also some more
mainstream artists like Kim Wilde and Adam and the Ants. When I became a
little elder I started to get the taste of making my own music. My first
thought was that I really wanted to become a pop star, but on a second
thought I didn't want to take part of such life at all, that's not me and
that's not what I want to be. I feel more like an expressionistic artist and
my work has some sort of personal therapeutical value for me. I wanted to
find and satisfy myself with help of my music.

2) Being a prolific songwriter, you are involved in many other projects,
among them Atomine Elektrine and Panzar. Tell us about the work of these
other projects and about your upcoming releases. You are slated to work on a
new Atomine Elektrine project. Why the break for 8 years? Also with
Svasti-ayanam, there seems to be references to Indian spirituality with
like Chakra-puja. Are you studying this ancient Chakra system? What are your
thoughts about the human energy field and the ability for humans to go
astral travelling? :)

Yes. I do have a lot of different projects, not all are active as some of
them were only temporary projects, like Svasti-ayanam. I can't say that I
have in depth-studied the chakra system but I have read about it and knows
about it. But regarding energy fields and astral travelling, I can't say I
believe in all that, but I hope it's true and there is definitely something
there unexplainable with the scientific tools of today. The Svasit-ayanam
concept was to mix tibetan-indian-tribal-etnical-industrial elements. This
side project does not exist anymore, one album was done. Panzar is, or was
(don't know if there will be anymore Panzar), an electronic-industrial-noise
project which has released one CD album and one 7" single, and has a special
interest in military vehicles cause they are simply beautiful in an
aesthetically point of view. Bocksholm, is a collaboration project with Lina
Baby Doll of Deutsch Nepal, because 1) we have the same name: Peter
Andersson, 2) we are both grown up in the town Boxholm and 3) we are making
industrial music. Bocksholm is quite a weird mix, it's made out of anger for
the town Boxholm, and we simply hate this town, so it's funny to make music
of it. Most sounds in the Bocksholm recordings are samples in Boxholm to
give the project an authentic feeling and sound. Two albums have been
released and several live performances, we will probably work on a new album
soon in the future. Grismannen (the pigman) is my dirty and perverted
surrealistic electronic project, dealing mainly with topics as excrement.
Several recordings exist and they have been released as CD-R. Stratvm Terror
is another collaboration project, with an old friend of mine, Tobias
Larsson. We are making music from power electronics to noise-ambient, and
are just about releasing the fifth CD album early next year titled 'Fixation
' on Old Europa Café. It will contain unreleased tracks from 1998-999 and
two new tracks. Atomine Elektrine is my electronic-ambient-chillout project,
which I am supposed to make new material for, but it seems it has to wait a
little longer. I have too much to do right now and I just got inspiration to
do an album with another project of mine, Necrophorus. The reason why it has
taken 8 years from last Atomine Elektrine album is that I have been busy
with other projects and university studies and lot other things. After all I
haven't done much or any material for Necrophorus or Stratvm Terror since
1998-1999 either. Right now I am working on a new Necrophorus album that
will be based on a concept around spirit, wood and water, and it will have a
Scandinavian theme, icelandish theme and both Chinese and Occidental
astrological theme. I will not reveal too much now you'll see when it's
finished. Next releases except for the Stratvm Terror 'Fixation' album is a
re-release of raison d'être 'Reflections from the Time of Opening'
(including 30 minutes extra material). A Stratvm Terror re-release of first
album 'Pariah Demise', re-mastered with 30 minutes extra material and with
new cover design. An album, which I simply call Peter Andersson - 'Music for
Film and Exhibition', containing soundtracks for films and exhibitions I
have been involved in and composed music for.

3) What is the Raison D'être or (the meaning of your existence) so to speak?

My raison d'être is to develop and mature as a human being, to as much as
possible individuate and find my self and reach harmony within my self
(which according to C.G. Jung is a lifelong process). To give love, to help,
to make people and animals happy.

4) Tell us about the Swedish music scene and being involved for so long,
are your favourite Swedish bands?

The music interest in Sweden is very big and the last decade or so there has
been, from around the world, a growing interest in Swedish music. One of the
reasons for the many Swedish people involved in music might be that there
were a lot of moves starting in the 70's and 80's to encourage and support
music education and music practising. People see a chance to get famous and
we have all the tools that are required (fresh ideas, money to buy
instruments, etc.). It also seems to be a major interest in Sweden overall,
not only in music but also in the rest of our culture, our political ideas,
our nature, companies/products (like IKEA and Volvo) and more.

I listen to only a few Swedish mainstream bands and some more sub culture
oriented bands, but they are not many. Actually I listened to ABBA in my
early years, when I was 5-6 or so. Stina Nordenstam is my favourite in the
mainstream field. In sub field I like most Brighter Death Now, Desideri
Marginis,Brain Bombs, Hazard and Grus.

5) What kind of equipment, instruments do you use to create your music and
play live? Tell us what the atmosphere and vibe you get when you play live.
What have been your favourite show you have played at and your favourite
place for touring?

For creation: In the early years I used an Atari computer with Steinberg
midi sequencer software together with a number of synthesisers and samplers.
Then, in late 90's, when PC's became fast enough, I moved to hard disc
multitrack audio/midi recordings. I also have some acoustic
instruments/sources like metal plates, gongs, waterphone, wind instruments
and string instruments. I also use a minidisc recorder and stereo microphone
to record environmental sounds.

For live: Right now I am using a portabel multitrack harddisc recorder unit,
a minisampler, metal plates found on location connected with contact
microphones, that's about all. I will probably buy a laptop soon and use it
instead of the multitrack unit.

I have been playing quite lot, and I believe the atmosphere is dependent on
a number of things like: the place (how it looks), the sound (if a good
sound can be delivered), the audience (number of people and if they show
interest). My personal mood of the day is also relevant. If everything is
great then it feels like a mental orgasm. If the performance plays is an old
ruin or a catacomb, and the sound PA-system is great, and there is a lot of
people that does not stand and talk during the performance then it will
probably a really great performance, at least if I am in the right mood too.
A few times I have been playing in some kind of circus tent, it was not an
appropriate place, and sometimes the sound is really bad because of crappy
PA-system. At such time I really would prefer no to play, but then it would
be very disappointing for my fans. I actually don't really tour, mostly it's
about one single performance at time. I think the greatest show I have been
playing at was in Cosenza in south of Italy in 2001. It was an outdoor
performance and there was a beautiful view on the old medieval town in the
background. I also enjoy the first raison d'être performance, in Nevers,
France, 1996, it was in an old and beautiful theatre with very good sound.

6) Since you are currently working on some upcoming releases, tell us about
the frame of mind or mood and processes you go through while entering upon
the state of creation.

After an album has been created I have to regain energy, because the
creation process means to empty one self, to transfer the energy inside me
into music. So, for a new album I need to rest in order to accumulate
energy, it's an automatic process, part of daily life, so it's no strange
things about it. The energy comes from any kind of experiences, could be
love, sadness, from a book, from a movie etc. The idea phase might start
quite early, and then I build a concept around the idea, then it take
various amount of time to think about the concept, to make it mature and to
feel ready to compose the actual music around that concept. Right now, all
by a sudden, I got changes in plans. I was supposed to do music for a new
Atomine Elektrine album. But a month ago I met a new friend of mine that
made great impact on me, she is a very wonderful person, we have lot in
common and we have experienced some strange things together. I wanted to
make music from this great impact, so right this very moment I am working on
new music for my necrophorus project that will be dedicated to her, our
great friendship and spiritual affinity. I want to catch the emotional
feelings I have for her and the inspiration I get from here right now into
music. I never done it this way, so fast after impact Usually I let things
grow, mature, but I feel it has already grown into something big in this
short amount of time and I feel ready to create .So Atomine Elektrine has to
wait a little longer.

7) Europe's culture is very entrenched into different periods and modes of
art, philosophy and culture. What are some of your artistic and intellectual
influences? Also, what have you been reading of late and please share some
of your favourite thinkers and philosophies with us.

I watch a lot of movies and art, listening to a lot of music but
unfortunately do not read that much. Tarkovksij, Lynch and Greenaway are
some of my favourite film directors. I also enjoy the art from Lynch. Other
artists I found interesting is Rembrandt, Goya and Dali amongst many others.
In music right now I listen a lot to Organum, Troum, Maeror Tri, Labradford
and Windy and Carl. Well, actually there are plenty of good artists,
directors and music makers that are able too create the right mood I am
after, just need to be found by sorting them out from all the very much crap
there is out there. When it comes to books I will soon start to read the
'Tibetan book of Dead'. Right now I am reading 'The Dharma Bums' by Kerouac.
I am quite much into Buddhism thoughts now. In early 90's I was reading a
lot of C.G. Jung, I like his thoughts a lot. The latest four years I been
reading a lot of literatures because of my university studies, so I haven't
had the time to really read the books I want to read for pleasure. I have
books I bought several years ago that I haven't opened. I think my favorite
thinkers are Chinese ones, Lao Tzu for example. I think they have much good
to say to the western man.

8) The world seems to be going through ecological crisis's, what with the
global climatic changes, ethnic cleansing, war and pollution. What do you
think is going to be the fate of Mother Earth in the hands of humans? How do
you feel about this?

I have hope, even if mankind often is greedy. But I don't like how things
are now, or have been since the start of our civilisation. We should take
care of the nature and ourselves in a complete different way than today. I
don't like the exploitation of the earth. With technology we can reach a
better world, but at the same time we become more vulnerable as we become
dependent of the technology, it's a dangerous game. But all is not up to
mankind, even without human the earth is not a safe place to be. Humans don'
t rule over the laws in Universe.

9) With increasing globalisation, there is an easier way for the underground
music scene of various countries to be heard, and for those interested to
communicate to each other. How has this affected Raison D'etre and your
other work?

The interest in raison d'être and my other projects has grown over the last
10 years, and is still growing. I am not sure how mp3 downloading has
affected raison d'être, I think such things are worse for commercial
mainstream bands than for small bands, and it's the same for record labels.
Some people find it really hard to find my music and the only way is to find
mp3-files. So, that's better than to not hear the music at all. On the other
hand I don't support free mp3 downloading, I think the artist and label
should have their share.

10) Having made music for well over 11 years, how do you feel you and your
music has grown?

I feel some kind of maturity when compare my newer work to earlier work, I
mean it's obvious that something has happen, it's like looking on new photos
and compare to photos from 15 years back. During these years I feel that my
music has found the way of what it really is, or what it should be. I think
my three first albums explored kind of different worlds trying to find the
"right" path, and since the 'In Sadness.' album I have been on the same
path, which entrance was discovered and partly investigated on the "Within
the Depths of Silence.' album. What I mean is that I feel my three last
albums, 'In Sadness, Silence and Solitude', 'The Empty Hollow Unfolds' and
'Requiem for Abandoned Souls' are more related to each other than to my
earlier albums, they are more consistent together. But every album has taken
new steps on that path, they have not been standing at the same spot. I am
not sure where I am heading now, there will be a difference, a new direction
on my next album, I am pretty sure of that. Maybe I will stay on the same
path but using slightly different ways and tools of expression, or maybe
investigate a sub-path to that main path, or combination of both. I will not
be completely different but a change. I have some ideas but it's too early
to reveal.

11) Do you subscribe to any form of spirituality?

Only through my music.

12) Is making music your only job? :)

No, unfortunately I can't make a living out of music alone. Right now I am
studying the last year at the University in my town (Norrkoping). It's a
four year magisterial candidate course called Culture, Society and
Mediaproduction, mixing both theoretical and practical elements to become
something that might be called "Cultural engineer". By studying I got money
from the government. Before going at the university I was working with 3-D
CAD modelling and design of plastic medical devices for a few years, but by
some reason I didn't enjoy the work so I started to study. I am not sure
what's happen after the university, hopefully I will get an inspiring work,
and if so, but more as a hobby project, I will probably also start my own
creative company that deals with music and video production amongst others.

13) What kind of an audience do you attract with Raison D'etre, any comments
about them?

Actually the audience differ very much, and I am really happy about that. I
have not much comments about them more than there seems to be people from
various social and cultural groups and various ages (at least from 15 to 70
years). In general there are men, sometimes their girlfriends and it's
mostly people involved from the gothic or industrial scene. Much of it also
depends on where I am playing, in some occasions there has not been any
gothpeople, but instead a lot of mainstream or indie people.

14) Were you ever interested in the mainstream form of electronic music, and
do you keep informed of what happens in the mainstream of electronic music?

I have been listening to mainly electronic and industrial music since I was
a little child. I am not sure if they always could fit into a mainstream
form but some of the bands are indeed popular, like Kraftwerk, early
Tangerine Dream and Einsturzende Neaubauten. In the early 80's I listened a
lot to cosmic space music, kraut and industrial and I have been, at least in
parts, taken part of the followers of this kind of music. Today I may listen
to Bjork, Mum, Goldfrapp, Labradford, Pan-American, Cranes, Sigur Ros,
Ladytron, Colder, Aphex Twin, Future Sounds of London, Autechre only to name
a few, I guess these are quite mainstream. I don't buy much albums myself
today but I try to keep me informed of good music through my friends, then I
'll by it if I like it.

15) Tell us about your long standing relationship with record label, Cold
Meat Industry.

I have a good relationship with Cold Meat, we are close friends and we are
helping each other with a lot of things. I pre-master many of the Cold Meat
releases and I help Roger Karmanik with the Brighter Death Now web site. We
treat each other well, and all bands on the label is like a family.

16) Ok, any last words to the kids here in Asia?

Really nice to hear there is an growing interest in this kind of music
beyond Europe and US, on the other hand music is indeed powerful enough to
exceed limits and borders, even cultural ones, and it shouldn't be a
difference where people live. Hopefully it will be easier for all that wants
to get hold of my music output.