Robert Inhuman interview
with Andrew (
http://digitalliver.blogspot.com/2008/02/correspondence-with-robert-inhuman.html
Digital
Liver: Tell me about the move to LA...
Robert
Inhuman: I decided to finally move out of
DL:
What type of affect is the move going to have on any of your music projects?
Robert:
Realicide has been changing a lot the past few months anyway. Mavis needed to
take a serious break from the band, which has posed kind of a difficult
situation as to who could fill in running the midi hardware for live shows. Vankmen up in Oakland is completely able, and I'm working
with Jonathan Prunty from Dayton for the spring tour
to Europe, so yeah people are still going to function in the band but are
spread out among several cities really far apart. Touring will be possible, but
frequent shows in any one region are uncertain at the moment.
Hentai
Lacerator released a DIY version of our completed "Sugarsplash!"
album last month. We are hoping to have it picked up by an interesting label to
re-issue it onto vinyl or CD, in which case we'd be into getting together to
tour in support of it. We are separated between
I
am hoping to find a new band to work with consistently in the LA area, but also
might consider working on a new solo setup as well if needed. I currently
prefer to work in bands because I do not enjoy manipulating equipment during
live performances.
DL:
Robert:
Yes very much, or especially for Realicide as a band, but not often in a
positive way. Most of the content for Realicide is about our origin in the
DL:
Last time you were in
Robert:
I think I'd describe it more as a parallel. Sex is a lot more important than
noise, but noise can be a very potent vessel by which to confront or react to
sexuality. The reason I favor high-end feedback manipulation and related noise
is that it reminds me to completely of sexual
performance; maddeningly delicate and instinctive basically. In the past I'd
hoped to combine these 2 types of performance, but never really actualized the
ideas for a number of bad reasons. The noise I react to most often is the noise
inspired by, or directly resulting from, intense sexuality or emotional
release.
I
do not associate most other kinds of music with sexuality; not directly at
least. I look at most band setups as something much less intimate, as a social
endorsement or protest. Sex can be included in these topics of course, but
music like Crass' "Penis Envy" does not strike me as pornographic,
where as some of the classic works by Prurient might be closer to that. Both
these uses of sexual elements have always appealed to me a great deal.
DL:
What do you think noise represents in contemporary culture?
Robert:
I think it represents both progression and ignorance. It's still got a hold on
progression because it maintains ties to D.I.Y. culture and the perpetuation of
the punk or "industrial" ethic, though by changing the applied
aesthetics of these cultures which is totally mandatory to ensure their
survival. Simultaneously, the noise scene indulges more and more into cutting corners,
glorifying an image or a false passion in a lot of cases, glorifying elaborate parlour tricks that are useless in our real lives. This
isn't Dungeons and fucking Dragons, this is supposed to be a reaction and
reflection of our world NOW. But given that, the escapist and technologically
nerdy nature of what is labeled as brutal harsh noise (or whatever you want to
deem it) makes a lot of sense in our world. The current world is one addicted
to what is hoped to be harmless jokes and games, to a numbing and totally
pacifying degree no doubt. I'm talking about safely watching videos of
executions or militant slaughters on the internet, but though the violence is soberingly real at its source, it is on the other side of
the Earth and we don't even have to leave home to be entertained, or go to
schools, or form relationships. From my perspective, comfort is the most
hideous opiate plaguing our world currently, and noise culture is by no means
immune to this.
DL:
What are some of the quintessential messages you hope to convey with your art?
Robert:
I would like to endorse my perspective on art's nature and function as one of 3
(and only 3 so far) things I find it of use for. #1 as a
byproduct of a life's experiences and relationships between people or how we
interact with the world. #2 as a catalyst for dialog,
be it as a challenge or invitation or whatever is of use or interest. #3 as the
distraction that may buy you the time you need in recovering from experiences
in life that bring you terminally close to the "edge"; to save your
life with art as a game until you are strong enough to discard it and carry of
with more valuable things. These are prevalent in some form throughout
everything I do in bands or as an artist by myself. Ideally with more maturity
I will be able to endorse solutions to problems I see in the world, but I feel
like I would be making the same mistake as most others if I attempted to do
this so far. That's why my art is also an "anti-solution", because I
believe that a solution originating from the human capacity (mine, your's, whoever's) is inherently poisonous to the Earth and
to all life. The only true solution I ultimately hope to discover will be from
outside my own wants, and outside the values of any other person like myself.
DL:
Would you ever work with a “major” corporate record label?
Robert:
If I had control over all content in the work besides the name of the record
label, yes, because it would be a platform that would enable me to influence a
larger quantity of young people. But in the case of sudden massive
distribution, I would be in much closer contact with a lot of people I look to
for guidance and insight, in hopes of maximizing the potential effect the work
could have, and make the most good out of a risking decision to "sell
out". If I wanted to work the system to that degree I would need to be
absolutely sure that it would be worth the cultural sacrifices.
DL:
What do you think about the current political landscape?
Robert:
If you mean the imperial hard-headed muscle-flexing of the Bush administration,
it is very tense and concerning to say the least. I equate it with a larger
scale of the rage I feel towards hidden agendas and conspiracies among smaller
groups of people I've encountered in scenes of activism and underground music.
I am not interesting in worshiping anyone who wants to be even remotely viewed
as some sort of king or glorious general, and though it is not my job to ensure
justice on that level, people get what's coming to them whether we are there to
see it or not.
DL:
What are contemporary social factors that influence you?
Robert:
Talking to people and watching people do stuff in public. Seeing which people
will physically touch me. Reading what people write about themselves and
others. Oh yeah, definitely also reading what people say about or to me, then
comparing it to what happens in person. That's a big one that might influence
me a lot in one way or another.
DL:
What is something happening right now that you think is really really important?
Robert:
I am trying to go to
DL:
Did you ever go to raves in the 80s/90s?
Robert:
In the 80's I was busy learning how to read, walk, and be born. In the 90's I
mainly drew comic books while listening to Skinny Puppy and the Subhumans on my walkman. The only raves I have been to have
been in this decade, and the only ones I have enjoyed have
been a couple on the west coast that offer gabber and actual variations or
hardcore styles.
DL:
Have you chosen for yourself and claimed identity?
Robert:
I'm giving it a good shot at least, but the more I'm challenged about it the
more actual this can be. I am not interested in being constantly agreed with.
It can be hard to evaluate the progress until later with clear hindsight, but I
am also impatient a lot.
DL:
Are you rebelling against anything?
Robert:
Everything that video game called "Rock Band" stands for, I think I am rebelling against that fairly well. I have
never seen such a viciously total endorsement of creativity-killing stereotypes
in any game before, granted I don't pay much attention to games but I happened
to learn about that one recently. I really detest every aspect of that game, in
its insistence on technical perfection which sucks any amount of soul out of
even the boring songs that are featured on the game. It is an enemy approach to
all expression from the path I've chosen.
That
is an easy target though. On the other hand, I would mostly like to rebel
against my self. This is the hardest because my self houses all my wants and
narcissistic wishes, both blatant and secretive. I would like to rebel against
my self in a way that can ultimately offer me a perspective on life and my
existence that surpasses my initial human capacity; leading me to a more true
worth and the very actual opposite of any game. This is a lifelong hope though,
and I know I am extremely slow in progressing towards it.
DL:
Why do you play music?
Robert:
Ironically because music is sought out for entertainment and comfort. It is the
choice to socially infiltrate and affect cultures from the inside out, when
done successful I mean. Ideally I'd approach the choice to work in music, especially
with any elements of accessibility such as drums and singing, similar to the
aims of bands like Throbbing Gristle. And on a spiritual end, music has
historically been a very valuable vessel for all kinds of ideas and
transformations. The root desire of any art I engage in is a desire for change,
so music that has the ability to transform a person or people in any way is at
least of interest to me. I am simultaneously comforted by the conviction of my
decisions, and admitantly somewhat entertained by the
reaction they get from my peers.
DL:
If you could have a dinner with any five people in the world who would you
invite?
Robert:
I don't particularly enjoy eating, especially as a social activity, but I
understand that most people do and I appreciate that. If the people were among
whoever is alive right now? Maybe Genesis P-Orridge
because she has been a really crucial influence on my decisions and
determination as an artist since my late teens, Amber Evans because it would be
a very strange experience to meet someone of that medium in person, Jessica
Evans because I haven't seen her since I was like 17, maybe Marilyn Manson
because he to some degree represents the taboo of aggressive rock music I grew
up with in the 90's so his role would basically be an ambassador of that
phenomena, and Simon Severe because I could possibly relate to her better than
the other 4 people mentioned here and that's pretty valuable of course. I don't
know how well this dinner would work out at all though, realistically.
DL:
What’s next for Realicide Youth Records?
Robert:
Realicide is going to record and release material that will be performed during
the March / April 2008 European tour with Captain Ahab and Toecutter.
I am also hoping to compile the 2nd collection of material for my zine SACRIFICE. Later this year I am hoping to release work
by Xrin Arms, another book by Jim Swill, a Realicide dvd-r data collection for people to use on Soulseek, new work by Evolve, and the awesome plans for Vankmen's speedcore "vank-thology". My bands and solo work with also be
released on several CD's and vinyl records on various labels as the production
of it all is gradually completed. That is taking a lot time but it will be much
better quality than anything we've offered previously.
DL:
What’s next for Robert Inhuman?
Robert:
I am hoping to sort out a lot this year. I'd like to establish a really
satisfying band in the LA area. I'm also very interested in continuing to get
around the