CONTROLLED COLLAPSE

Hailing from Poland CONTROLLED COLLAPSE put Poland firmly on the dark EBM map with their debut album 'Injection' which was released by no less than Johan Van Roy's Noise Terror label. CARL JENKINSON took the time to ask mainman KR-LIK some questions about his music & the emerging Polish electronic scene.

www.myspace.com/ccollapse
www.controlled-collapse.com
www.noiseterrorproductions.com



 


Image courtesy of /www.viona-art.com-best

Q. With the release of your debut album 'Injection' on the Noise Terror label you seem to have placed yourself firmly at the vanguard of Polish industrial music but how did you first get interested in music & particularly EBM in the first place?

A: I was introduced to ebm / industrial by my older brother really, who was listening to this kind of music way before me. I got into KMFDM – SYMBOLS album which I still find really good. After that I went to see VNV NATION in concert in 2001 and I loved it. Since then I started to listen to many other “synth\ebm” bands…

Q. Did the unstable political situation back in the 80s make it harder to hear any kinds of alternative music or did it have the opposite effect in that all the upheaval made Poles more receptive to more unusual styles?

A: That’s a question I’ve never thought I’d get asked. To be totally honest with You – I don’t know. I’m just too young to know that since I was born in 1984. I hardly got the “smell” of 80’s and well… in the 90’s I was too young to care about whatever then myself.

Q. Likewise, was it very hard or at least very expensive to obtain electronic gear at this time?

A: Well from what You can read in interviews with other bands that actually made something in the 80’s, they mostly say that yeah the gear was hard to find and very expensive, so I guess take that, add 80’s Poland there and I guess that’s how it was.

Q. How did you get in touch with Johan Van Roy & his Noise Terror label? Did you already have the album completed by then or was he impressed enough with your earlier works to give you a chance?

A: I think that I asked Johan to remix a song of mine somewhere in 2003. He had no time but he wanted to hear the song. We met in person next year during Summer Darkness Festival in Utrecht, then I gave Him my Humanization Demo. He seemed to like it and said that if He ever starts a label He’d want to release Controlled Collapse. By the time the label was formed I had some new songs already made. But really the whole album was ready like a month or two before the actual release. That’s why on the album you can hear the older stuff like “memories of the past” or “where were you” and songs made weeks before release like “selfless” or “liar”.

Q. Whilst listening I was often reminded of a lot of Wumpscut's work although you still manage to keep the whole thing sounding fresh & invigorating. Has anyone else made this comparison & if so, do you find it tiresome?

A: Yes and actually I’m satisfied that people compare my music to :wumpscut: because it really was what I was aiming for. With Humanization Demo I was often compared to Suicide Commando, but then all them clone bands came out like Agonoize or Virtual Embrace and I didn’t want to follow that way anymore. I wanted controlled collapse to sound more complex, less trancey-dancey and in my opinion I achieved that, hence comparisons to :w:.

Q. The participation of Darryn Huss (who I guess you met at Dark City In Edinburgh?) & Flesh Field's Wendy Yanko added an extra element to their respective tracks. What do you feel each artist brought to the album & are more similar collaborations likely in the future?

A: I met Darrin long before that festival. Darrin loves to play concerts in Poland and that’s pretty much when we met. I’d say we’re pretty good friends, I always loved to talk to him over internet. We were actually thinking of doing a couple of songs together and see what it would turn out to be, but we ended up recording one song (unreleased) and I asked him if he’d be interested in singing to one of my songs and so that’s how that worked. As for Wendy, I never even actually met Her in person. I made the instrumental song 'Solitude' and was really happy with the sound. I thought that recording my vocals over it will just ruin the whole effect and so I decided to have a female vocalist to do it. At that time I was listening to Flesh Field’s album Strain which I really like and so I asked them if they’d be interested in such participation. They were, and I think that 'Solitude' turned out really good.

Q. It seems as if Poland (& many other former Communist Bloc countries) is currently enjoying an industrial music boom, is there a strong scene as involves clubs, radio shows, festivals etc that allow interested people to get involved?

A: Well the scene ain’t really big. There are no “scene clubs” (well actually one’s in works at this moment so we’ll see how that goes). There are a lot of people who say they like the music, that they support the music over the internet, on many forums, and websites. The problem is that when it comes to concerts, there’s hardly ever more then 200 people…

Q. At least the number of bands now visiting Poland gives you the chance to play regular supporting gigs, have there been any particularly memorable or satisfying moments on stage?

A: I’ve supported (among other bands) Covenant or Terrorfakt & E-Craft but the best gig was this year before Combichrist. It seems that Combichrist is the only (?) band that can bring ~400 people audience here in Poland, and since there was a slight delay during that gig, we got to play in front of all that crowd. It was really a great feeling.

Q. I notice you also do a fair bit of DJing. Do you find this a useful way to keep up with what's going on in the scene & so provide you with greater inspiration for your own material?

A: I hardly DJ the “scene” stuff. As a DJ I try to beatmix and well basically MIX the songs but the songs in this scene ain’t really made for such mixing therefore I’m more into electro-clash / tech step / house type of DJ at this moment. Besides more people seem to enjoy this kind of music, and when people are enjoying what’s being played – DJ is enjoying playing.

Q. With the demise of Dependent the future of NTP is, I guess, also looking uncertain. Can you give us any kind of update as to what is happening here?

A: I’m afraid I can’t. I guess You have to wait for some official statement from Johan himself.

Q. I guess you don't want every album to sound the same so how do you intend that your next release should advance from 'Injection'?

A: I want to pay more attention to the quality of the sound. I really like when the sound is crispy and sterile so that’s one thing that I’ll be trying to achieve. Also, I will probably stay with the more complex – less trance theme, but I will try to have it at least dynamic and danceable so that people can try and enjoy themselves on the concerts. If talking about comparisons… I’d say VAC meets :W: heh.

Q. Anything else you've got in the pipeline? I understand you're working on a sideproject called Clicks; what's that about, then?

A: Yes. I’m working as CLICKS right now as well. CLICKS is the electro-tech-clash project – for the masses. It’s the bow to all the people who enjoy what I’m spinning while DJ’ing. It’s a lot of fun to make, it’s fairly easy music but people love it. I had two concerts already and the reaction was more than positive. You can check it out on www.clicks-music.com

Image courtesy of www.disturbing.org