Industrial Music E-Zine
1. How would you describe the bridge between the end of the Nyan era with L'unification des Forces Opposantes and the latest release Kundalini Rising? When Nyan was gone . It was gone. So many years spent on that concept left me (mika) a little empty. TMO/me needed something more uplifting. Karls influence and input provided that. Hence the ‘rising’ part of the title. We both knew what was needed and what was happening, but when I actually channelled it, it all came together.
2. What issues have you run into while trying to create sounds with the equipment that you have and how do you deal with any limitations (such as with Em Sauf Haa-Heru)? What I learned from the Hegira Trilogy was not wasted , so much as I use several tricks of those days today in the creation of Kundalini Rising. We have a better studio in which to record, but when a problem pops up we know how to fix it and it does not impede on our workflow.
3. You took a side step with Momentum of Singular Clarity. The sounds are more formulaic and you seem to be defining what is actually the rhythmic base of TMO. Since that point, the music takes a turn and appears to use this base formula. Was this your intention and how did the production develop? As far as I am concerned. Momentum was a fluke. I tried to get the rhythmic base in the forefront, which worked partially, but the spiritual side was absent. Given more time it would have been the total amalgament kundalini rising is today.
4. What has been your biggest challenge in trying to incorporate the sound you wish to produce into a live performance? I once counted it would need about 64 people to actually produce all sounds to get it all live. Maybe it will be possible some day. So for now. I can only say we are not a laptop band and the live element is key for us. So for an ‘tribal industrial’ band we still get (despite tech riders) rolling eyes on how much channels we require.
5. With the ground that TMO has covered thus far, how do you see your music developing after Kundalini Rising? Our spirits evolve and people will hear the result of that. They will continue to evolve with more auditory evidence of that.
6. With the spiritual sources that you tap, what insight can you share as far as translating this source, perhaps similar to a language, into the tracks which eventually are produced? K- Basically it would be the same spark that inspires anyone to create art of some kind, but with the new album we have just named it out loud. Although this is nothing new, as Eastern cultures have been actively engaged with it for thousands of years. What was new for us is that we were changing our energy more directly in our day to day lives, and the music born from that is a reflection of that process.
7. In the track Elephantine Triad from The Future Has Taken Root In the Present, is the triad you are referring to Khnum, Satis and Anuket? (personal question) Yes. I know them under different spellings but yes that was what I was talking about.
8. Because every path has the same destination, eventually opposites become one as is the premise behind Les Passage Jumeaux. Would you say this is what you were trying to acheive between the releases Em Sauf Haa-Heru and Momentum of Singular Clarity? (personal possibly public question) Indeed this is what I was trying to achieve but perhaps was spirituammy too young for at the time. Over the years it became easier to ‘tap into’ and get to the point where I wanted it. L’unification des forces opposantes cannot be a clearer title on this subject.
9. In the beautiful ArtBook presentation of the limited Fire Spirit edition, the pages focus on various spiritual concepts from around the world. Within its pages what were you aiming to achieve as your focus for the reader and listener? K- Aside from creating a nice product, we wanted to reach out to the listener in other ways. We felt, along with the label, the need to bridge the widening chasm that has been created since the age of digital downloads. It seems a paradox, but in an era when anyone can just message us on social media, the majority of music sold is just some mp3 files and a thumbnail - which seems to have further removed artists from listener. In the old days of vinyl you often got gatefold editions, with sheets of lyrics and pictures etc. and that was a far more comprehensive view of the message wishing to be communicated. With the text and Acretongue's amazing artwork, we thought we could achieve something of more deserving quality for those who felt the same way. At present there are only a couple of them left after 3 weeks of sales, so I think we were proven right that there is a demand for this connection to come back.
10. Would you say that Shakti is one of the primal forces behind TMO? (personal question or public?) K- Agreed, it's the creative energy behind all art, residing in us and all around us.
Terra Industria Electronic and Industrial Music E-zine