1. Can you explain the origin of the name "Horseback"?
Jenks Miller: The name primarily refers to the apocalypse riders. For the purposes of this project, the riders have been re-imagined in the traditional (that is, "pre-Christian") understanding of the apocalypse as "metaphorical revelation" rather than "literal violent conflict." The Christian appropriation of the concept has clouded our understanding of the apocalypse's true significance.
2. Can you explain further your own vision of the Apocalypse? Currently, there are an infinity of catastrophic speech (energy shortage, demography, climate disruption, artificial living beings, nuclear, etc.): I think it's indicative of the health of our time.
Apocalypse literally means "revelation." In the Bible, the apocalypse takes the form of a violent conflagration in which the faithful ascend to heaven while the rest of us sinners are eternally lost. The religious right in America -- and probably in Europe, too, but I couldn't say -- employs apocalyptic imagery to further entrench their dualistic thinking (that is, "good versus evil," "the scared and the profane," etc). Their campaign, along with Hollywood's indulgence, has allowed the greater significance of the apocalypse to become overshadowed by one specific mythology of the "end times." The recent films and video games depicting a charred terrain, widespread death and destruction, etc, are descended directly from a Christian ideology. But the physical violence here is a metaphor within our collective consciousness: It really means change, on both a personal and a societal level.
To respond directly to your point: Yes, times are difficult. Even if we control for the influence of the fear-mongering major media, modern psychosis and paranoia, the problems you mention above are very serious. However, it's important to approach such problems with the proper mindset. If we imagine our problems to be heralds of the end times, we inevitably retreat into our shells, into our fears, into the lesser aspects of our humanity. Conversely, if we understand these problems as part of a holistic cycle, solutions are revealed. It is no surprise that we imagine the apocalypse in that moment when our lives are the most difficult: revelation is born from adversity. We should not fear adversity; rather, we should learn from it.
3. How did you come to work with the label Relapse? I guess that the media spotlight has fallen on your music: you think it's finally a form of recognition? How has been the audience response so far? Perhaps that the usual metal public of Relapse is a little surprised by your atypical and hypnotic music...
Relapse heard about Horseback through word-of-mouth, and contacted me to see if we could work together. I'm very happy with the attention the project is getting. Audience response has been almost entirely positive. Some "metal purists" have been put off by the wide scope of Horseback's sound, but that's to be expected; in fact, I see it as a necessary component of artistic growth.
Jenks Miller: The name primarily refers to the apocalypse riders. For the purposes of this project, the riders have been re-imagined in the traditional (that is, "pre-Christian") understanding of the apocalypse as "metaphorical revelation" rather than "literal violent conflict." The Christian appropriation of the concept has clouded our understanding of the apocalypse's true significance.
2. Can you explain further your own vision of the Apocalypse? Currently, there are an infinity of catastrophic speech (energy shortage, demography, climate disruption, artificial living beings, nuclear, etc.): I think it's indicative of the health of our time.
Apocalypse literally means "revelation." In the Bible, the apocalypse takes the form of a violent conflagration in which the faithful ascend to heaven while the rest of us sinners are eternally lost. The religious right in America -- and probably in Europe, too, but I couldn't say -- employs apocalyptic imagery to further entrench their dualistic thinking (that is, "good versus evil," "the scared and the profane," etc). Their campaign, along with Hollywood's indulgence, has allowed the greater significance of the apocalypse to become overshadowed by one specific mythology of the "end times." The recent films and video games depicting a charred terrain, widespread death and destruction, etc, are descended directly from a Christian ideology. But the physical violence here is a metaphor within our collective consciousness: It really means change, on both a personal and a societal level.
To respond directly to your point: Yes, times are difficult. Even if we control for the influence of the fear-mongering major media, modern psychosis and paranoia, the problems you mention above are very serious. However, it's important to approach such problems with the proper mindset. If we imagine our problems to be heralds of the end times, we inevitably retreat into our shells, into our fears, into the lesser aspects of our humanity. Conversely, if we understand these problems as part of a holistic cycle, solutions are revealed. It is no surprise that we imagine the apocalypse in that moment when our lives are the most difficult: revelation is born from adversity. We should not fear adversity; rather, we should learn from it.
3. How did you come to work with the label Relapse? I guess that the media spotlight has fallen on your music: you think it's finally a form of recognition? How has been the audience response so far? Perhaps that the usual metal public of Relapse is a little surprised by your atypical and hypnotic music...
Relapse heard about Horseback through word-of-mouth, and contacted me to see if we could work together. I'm very happy with the attention the project is getting. Audience response has been almost entirely positive. Some "metal purists" have been put off by the wide scope of Horseback's sound, but that's to be expected; in fact, I see it as a necessary component of artistic growth.
4. And concerning "Aurora Borealis"? What do you think about this label? You like any band in particular (BURIAL HEX, SYLVESTER ANFANG II, etc.)? I have a deep respect for their artistic vision...
I, too, respect Aurora Borealis' artistic vision. They've assembled a great back catalog and I love the layout for the Horseback vinyl. I'm not familiar with every band on the label, but Burial Hex's Initiations is one of my favorite noise records. I like Sylvester Anfang II a great deal, as well.
5. I guess you feel pretty comfortable running the band by yourself… but what do you think the main disadvantages of a one-man-band are? Do you find it easier to work with a group of people or on your own?
I often enjoy working by myself: this way, decisions are made more efficiently and I have more creative freedom. However, I've also been working with a group to develop a live set, and I do try to collaborate with other musicians on most of Horseback's recordings. The full-band lineup currently features John Crouch (Caltrop) on drums, Nick Petersen (Monsonia) on bass, and Nora Rogers (The Curtains of Night) on guitar. Working with others has its own advantages, and certainly expands the possibilities for live performance.
6. The live performances were a target when you created "Horseback"? Come play in Europe is part of your projects?
Regular live performance has become more of a possibility as the project has grown. We would love to tour Europe; we are currently working with some European booking agencies to make that happen but I don't have any specific information at the moment.
I, too, respect Aurora Borealis' artistic vision. They've assembled a great back catalog and I love the layout for the Horseback vinyl. I'm not familiar with every band on the label, but Burial Hex's Initiations is one of my favorite noise records. I like Sylvester Anfang II a great deal, as well.
5. I guess you feel pretty comfortable running the band by yourself… but what do you think the main disadvantages of a one-man-band are? Do you find it easier to work with a group of people or on your own?
I often enjoy working by myself: this way, decisions are made more efficiently and I have more creative freedom. However, I've also been working with a group to develop a live set, and I do try to collaborate with other musicians on most of Horseback's recordings. The full-band lineup currently features John Crouch (Caltrop) on drums, Nick Petersen (Monsonia) on bass, and Nora Rogers (The Curtains of Night) on guitar. Working with others has its own advantages, and certainly expands the possibilities for live performance.
6. The live performances were a target when you created "Horseback"? Come play in Europe is part of your projects?
Regular live performance has become more of a possibility as the project has grown. We would love to tour Europe; we are currently working with some European booking agencies to make that happen but I don't have any specific information at the moment.
7. Obviously you master several instruments, which one was your first instrument? Which instrument do you master? Which instrument do you consider the hardest to master?
I took piano and violin lessons as a kid, but I guess my main instrument now is the guitar. I don't play any wind instruments; I imagine wind instruments would be difficult for me to master.
8. Previous to Horseback, what did you do as a musician?
I played in a number of bands growing up. For many years, I played drums in a Chapel Hill noise-rock band called In the Year of the Pig. I also currently play guitar in a country/folk-rock band called Mount Moriah.
9. With so much music going on how do you know when you've finished writing a song?
There is no formula. A song is complete when it feels right!
10. I ask this question because I think your music is propitious to extend on the length, to establish a state of trance with its repetitive melodies. The idea of composing a long song of half an hour or an hour is possible?
I suppose it's a possibility. But I wouldn't want the length of a song to dictate which choices are made in any composition. The textures, cyclical riffing and suspended tones I'm interested in could often go on forever; six or seven minutes' worth usually feels like a good compromise between a single cycle and "forever."
11. What is your opinion about the artist Phill Niblock? I had the great privilege of attending one of these shows... at the end of the evening, I didn't have the impression to be the same man so much his music is overwhelming/deeply moving.
I love Phill Niblock. Touch Three is one of my favorite drone records. I agree that his music is very moving! I would love to be able to see one of his concerts. Minimalist composers like Niblock, Tony Conrad, Philip Glass and Pauline Oliveros have all been a huge influence on my own work.
12. The first time I saw a picture of Phill, I was amazed at his age. Do you see yourself playing/recording music for several years? What could make you stop the music? You think it's hard for a musician to know to end his career?
Oh yes, I certainly see myself playing music for a very long time. The process of playing and recording music is a part of who I am, so it's hard for me to imagine a time in my life when I would want to stop doing those things. Music evolves, and my interest in it evolves as well. Outside of death, there's little reason for it to stop.
13. According to you, what are the ideal conditions for listening to your album "The Invisible Mountain"?
I intended the record to function either as the object of one's focused attention, or as background noise. So I think there are a variety of ideal conditions for listening. The Invisible Mountain is a liminal record, in that it outlines a process of transition between one state and another.
I love Phill Niblock. Touch Three is one of my favorite drone records. I agree that his music is very moving! I would love to be able to see one of his concerts. Minimalist composers like Niblock, Tony Conrad, Philip Glass and Pauline Oliveros have all been a huge influence on my own work.
12. The first time I saw a picture of Phill, I was amazed at his age. Do you see yourself playing/recording music for several years? What could make you stop the music? You think it's hard for a musician to know to end his career?
Oh yes, I certainly see myself playing music for a very long time. The process of playing and recording music is a part of who I am, so it's hard for me to imagine a time in my life when I would want to stop doing those things. Music evolves, and my interest in it evolves as well. Outside of death, there's little reason for it to stop.
13. According to you, what are the ideal conditions for listening to your album "The Invisible Mountain"?
I intended the record to function either as the object of one's focused attention, or as background noise. So I think there are a variety of ideal conditions for listening. The Invisible Mountain is a liminal record, in that it outlines a process of transition between one state and another.
.sialla
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