Band: SHINJUKU
THIEF
Country:
Australia
Style:
dark ambient
Questions
by: Mike Riddick
Answers
supplied by: Darren Verhagen
What initially spawned your interests in establishing SHINJUKU THIEF? Do you view your creations / compositions as more than music? A work of art perhaps (in visual and audio formats)?
- SHINJUKU THIEF was initially just an expression of my musical interests of the time - which explains (to a certain extent) the degree of diversity across the backcatalog. I think the cinematic / theatrical techniques which can be found throughout Shinjuku albums aligns itself to a genre over and above music. There's a definite sense of reference in much of the material - whether that's to dramatic cinematic convention, the use of sound design as found in film, or notions of emotional manipulation within a narrative context (whether perceived by the listener, or intended by the composer). All that said, ultimately, SHINJUKU THIEF’s albums are entertainment. There's a knowing wink in the exploration of the above, and it never strays too far from such traditions. My "solo" stuff starts to move away from these ideas into an area more interested in subtle notions of perception and detail, and can be viewed as something quite separate.... (eg. "Soft Ash", Dorobo 012)
Is there
a particular meaning behind the title of your project? What is your
interest with the Japanese culture / language (as I notice on your Dorobo
packagings you feature occasional Japanese text).
- The name of the project was lifted
from an experimental Oshima from the late '60's «Diary Of A Shinjuku Thief».
At the time we were working on the «Bloody Tourist» album and felt the
genre meshing which went on in that film was an appropriate reference point
to our activities at the time. The 'thief' tag was also seen to be buying
into the whole argument about 'cultural imperialism' which goes along with
much western sampling. The kanji is just the characters for 'dorobo' (which
means 'thief'). All pretty self-referential, huh?
Your first two productions, «Bloody Tourist» and «The Scribbler» had a more tribal and experimental feel whereas your latest compositions are wholly separate. Was this the reason for establishing «The Witch Trilogy»? Would you care to elaborate on your ideas regarding «The Witch Trilogy»? This work varies a great deal from your past compositions in that you incorporate dramatic orchestrals and very dark ambiental settings. What can we expect for the final chapter in «The Witch Trilogy»?
- I think you get a fair overview across the backcatalog of my musical interests at any given time. I'd be hard pressed to say which SHINJUKU THIEF’s albums could be labelled more or less 'experimental' (although my 'solo' CD «Soft Ash» probably be in the lead). But it is very easy to follow the musical reference points from album to album - whether that be the fourth-world touchstones of «Bloody Tourist», the Nymanesque minimalism of «Scribbler», the gothic orchestral / CMI territory of the trilogy, the techno of the Professor Richmann remixes or the industrial dance of the Shinjuku Filth CD's. The reason for the trilogy basically just came down to a recognition of the potential of the subject matter. Both conceptually - whether that be the anecdotal evidence/myths of supernatural activity or the politics of the church's response - and musically, the material seemed ripe for a more detailed study. As a result, each album has a different point of focus - with the opening, «Hammer» presenting more of a bombastic, theatrical overview - of both witchcraft as well as the chrurch's heavy-handed response, «Hunter» introducing East European folk elements and a more even handed, detached and lyrical eye, and «Haven» (soon to be released) continuing in that direction, but with the musical beauty underscored by the most disturbing soundscape of the three. In each, the listener's imagination is prompted by a detailed sound design which supports the music, and, inevitably, leads to quite a cinematic feel. Whilst it's early days yet, it appears that the soundscape in the final of the trilogy could probably be viewed as the most 'experimental', taking elements which could be viewed as filmic, and pushing them into more of a surreal, upsetting direction. In addition, I feel that musically, this one is the most accomplished of the three, so the end experience should contain a nice tension between the elements - the sound design having the space to move further out, by the beauty and confidence contained in the music.
Conceptually, the trilogy fell into place quite easily, as the original structure of the Malleus Malleficarum (trans = «The Witch Hammer»), the inquisitors handbook from the time, was written in three parts. Thus far, each inside sleeve presents one part of the sequence.
Are there plans for Dorobo to release all three discs in some sort of box set perhaps? What do you think?
- I'm still undecided on the box set idea. Whilst I think it would be a nice way of completing the work, I'd imagine anyone interested in such a special edition would already have at least two of the three CD's. I'm going to chat to a couple of labels and see whether such an idea is possible. If we can get it made in Europe for that territory and the States for America, it may become more viable than an Australian edition. Stay tuned....
«The Witch
Trilogy» works with a thick atmosphere of medieval superstition and nightmarish
feeling. What struck your interest with mediaeval beliefs and practices?
Do the black arts fascinate you in some way? What is the intrigue
of superstition and how do you feel it relates to anthropology?
- I think my interest in the period
is fuelled primarily by a fascination with the politics of the time - the
manner in which the church perceived / constructed the 'threat' (ie. the
systematic demonisation of fairly disparate elements into an iron-clad
'demonology') and the manner in which their philosophical positions were
justified and indeed changed over time. Obviously the reports of the supernatural
activities of the day are rich food for the imagination as well, but my
primary interest is more aligned to history, politics and philosophy than
the occult. I guess the intrigue with superstition comes down
to the ideas of how people find 'reasons' and become grounded in the world.
Despite the high theosophical stance of the church, you quickly realise
how desperate everyone was for such positions of certainty - with the clergy
just as responsible for flawed nonsense (presented under the guise of religious
truth) as the folk traditions the set out to destroy.
I do not
think it would be a mistake to say that SHINJUKU THIEF has managed to incorporate
a theatric and / or filmic reference in all of your works. What aspects
of film strike your fancy and why do you feel it necessary to incorporate
these themes into the work of SHINJUKU THIEF?
- For me, possibly the greatest
appeal in film is the high potential for a multilayered experience - the
ideas of ambiguity and room for thought that can be encouraged within
and by the narrative, as well as interplay across the various elements
in the medium (ie. vision, sound, editing and the like). Obviously
though, if this is done in just 5% of the films produced, we're lucky,
with Hollywood doing much to kill any room for narrative thought, or anything
other than formula in the creation.) Musically, film can be
a very convenient touchstone, as, when referenced, you are triggering a
potentially different response from the way a standard pop song is experienced.
It is almost inevitable that when you flesh out a track with some sort
of attention to non-musical elements, that the filmic experience will be
evoked, even if just sub-consciously. Without the visual component, or
often the clear narrative guide, the listener is forced into more of a
"world" - and one, where potentially, imagination and thought are rewarded.
Generally speaking, that is what seems to unite all the albums I've written
under the name «Shinjuku Thief». Filth, by comparison, may utilise similar
elements (design, sound bites and the like), but its reference points are
more the industrial dance genre. And then, with my other solo projects,
and my techno work, the references are similarly contained within musical
rather than cinematic genres.
The two CDs you have released thus far within «The Witch Trilogy» incorporate a fine environment to accompany the ideas and sounds within the music. It is a custom at Dorobo to provide spectacular layouts and products. How important do you think it is to have proper visual imagery and layout to suit a musical composition? What qualities do you attempt to design/explore in the graphics of SHINJUKU THIEF?
- Well, I guess my thoughts on the
packaging are initially driven by a desire to 'do something right'.
If you're going to spend a year working on an album of music, it seems
insane to design a cover which looks like it was knocked up in 10 minutes
on Quark. And given the strong conceptual component found in the music,
it makes sense to give people a good starting point, with rich artwork
as the front end of / trigger for their experience. That's 'Verhagen-the-artist'
talking. 'Verhagen-the-label-manager' would add the importance of having
decent artwork in an attempt to stand out in an environment where thousands
of discs are released each week. Anything which can give you the edge,
in encouraging the listener to take your album off the rack and have a
look / listen is a very important step...
What are
your current plans with Dorobo Productions and how can Americans find your
products? Please inform us about your side label Iridium as well.
- Recently, we have just lined up a couple of deals which will see our material more readily available in the states. Firstly, Projekt: Darkwave are now manufacturing all our discs in America (and can supply titles via mail order: 1-800-CD-LASER). Secondly, Dutch East India are now distributing our titles - so ordering material from your local store should be easier. Iridium is essentially for some of the more experimental dance releases which come or way - one's which wouldn't really fit into the dark ambient framework established by Dorobo's current roster. Iridium acts thus far have included BLACK LUNG, Ryoji Ikeda & DUMB TYPE, TCH and SHINJUKU FILTH.
Do you
find it to be quite a task to organise a label and musical projects simultaneously?
Is Dorobo your ideal job and occupation? Is it your only occupation?
- Well, that has been the most
difficult aspect of this whole affair. Dorobo was initially started as
an outlet for my own music, but very quickly provided me with enough headaches
and time wasting activity to keep me out of the studio. After a few years
of frustration, the deal we now have in America with Projekt should allow
me to claw back time to get back to my passion: music (which beats the
hell out of screaming at distributors for money - which seems to be all
that running a label is). Up until recently, there was no way I could
survive from music and Dorobo, so I balanced up my time with music retail
as well. Just in the last 6 months, I've started receiving a number of
commissioned works (for theatre, film and national radio), so it looks
like that will now become my primary focus.
SHINJUKU THIEF contact:
DOROBO
PO Box 22
Glen Waverley
Victoria 3150 Australia
Fax: 61-3-9 756 0341
Email: dorobo@werple.net.au