Nº 1 · April 2011



In a time of massive information flows and saturation, the barriers are being tear down. The path between people and musicians is now very short. Many of the traditional major labels are having a bad time to survive, due to their traditional primary goal: the profit. Independent labels, on the other hand, should see this as an opportunity. As always, their primary motivation is one and one only: the music. Now, more than ever, their role as a filter is needed, by the only people that can ask for it: the listeners. This is what Cérebro Morto aims to be. No more, no less. That being said, and as the interstellar body, Planemo is expected to be part of a non-resigned culture, spreading artists which share the artistic intentions of Cérebro Morto. Its primary goal is to further inform anyone interested on Cérebro Morto activities, with interviews to the artists, first-hand announcements, catalogue, and possibly more. Each issue will be focused on the new release, and will come out alongside it. It will also announce the next artist in line,with the aid of a brief introduction article.

Layout / Interviews / Texts Tiago Jerónimo (tbjeronimo@gmail.com) Cover drawing / Planemo logo Eduardo Pécurto (http://www.myspace.com/corpse_club)


Andrew Coltrane
Pages 2 - 5

Featured artist

Upcoming artist

Gianluca Becuzzi
Page 6



Pages 7 - 11


Fear Konstruktor
Pages 12 - 14

Featured artist

Andrew Coltrane

Hailing from Detroit, Michigan, Andrew Coltrane has been active in the US underground Noise scene since 1990. That makes him one of the longest running noise artists in the current panorama, with an extensive discography (over 100 releases) either as himself (Andrew Coltrane, A.C., …), with his free form cacophony project named Cold Turkey, or in collaborations with John Olson of Wolf Eyes, Heath Moerland of Sick Llama, amongst others. Coltrane also runs the label Hermitage Tapes, which releases abrasive music in limited quantities, in special hand-made packaging. Celebrating Andrew Coltrane’s Urge To Kill release on Cérebro Morto, here’s an interview conducted in February 2011. Active since 1990 (correct me if I’m wrong...) you now have a 21 year carrer. Andrew Coltrane: I received a gui-

tar when I was 8 years old. I purchased a 4-track cassette recorder in 1988. I started to get interested in more extreme forms of music at this time: hearing the Velvet Underground’s White Light / White Heat for the first time was intense with the taped glass breaking, noise and feedback... Inspiring.  A friend also gave me a copy of Crass’s Christ - The Album on cassette in high-school. The mix of radio and TV with the songs sounded good to me and I felt anyone could be in a band or whatever you wanted. Just get a tape recorder and go for it.

Do you ever listen to your first recordings? AC: I occasionally go back to the very early recordings. They seem to be more about the process of recording new sounds. Experimental recording or a recorded “test” of certain instruments.

As a critic, and conscious of your artistic output until today, what do you think of them, and how do you see your evolution? AC: I see my evolution in recorded sounds as being more experimental and naive in the early days and more focused now. I consider myself an electronic composer, carefully arranging each sound into a composition. I try to get the best sound with very minimal equipment. However, I try continually to come up with new sounds, processes and instruments,  to further expand the range of sounds. Even now, I will just do an experimental recording to investigate certain sounds or processes and not really try to shape it into a finished piece. Sometimes a recording is best left unmixed as it was recorded on that particular recording device.

4-track cassette deck. I think you should use whatever you can whether it’s digital or analog. You need to have an open mind and learn how to listen.

I think that Urge To Kill goes in a more sinister direction, but at the same time it seems to me like a natural step, bearing in mind the density and full of feedback output of your recent discography. I couldn’t avoid to make immediate relations to the Italian industrial scene. Do you agree? What are your thoughts on the ambience you created? AC: Yes, I would agree I have been going back and listening to many different Italian and European Industrial stuff. So I’m sure it’s an influence. Also listening to classic Industrial music: Mauthasen Orchestra, Laxative Souls, Maurizio Bianchi, as well as Le Syndicate, SPK, Nurse With Wound, Throbbing Gristle, etc.

Back then you didn’t have the tools that we have today. How did you do it? AC: I still use the  same tools: 4-track recorders, small-tape recorders, synthesizers, contact mics, junk metal, conventional and home-made instruments, reed instruments and primitive flutes, found tapes, whatever is at hand.

Could you talk a little bit about the recording session(s)? For instance, you use voice samples from an unknown source. AC: For the Urge To Kill session I had a well planned idea ahead of time. I then searched my tapes for the “vocal” aspect I would use. These were found from various recordings made of serial killers. I then started layering down the other tracks  done on my 4-track, playing and editing as I went along.

What’s your position towards the use of computers and digital sound processing? AC: I do not use any computers or digital processing but I have tried them. Basically, I’ve never had a lot of money to buy recording equipment, so that’s another reason to use inexpensive equipment, like a

Do you have a methodical approach when creating / recording? Or do you just hit REC?

AC: I do have a method to recording which I have developed over many years. If I am playing music where I am improvising, I’ll just hit record usually and then maybe go back and work the material over.

few years ago, and what has changed that? How many times have you performed live? AC: I started playing electronic and electro-acoustic music in the mid 90’s and I was working 60-70 hours a week for along time. Then I had bad anxiety and depression for many, many years and I had finally found some help with that arond 2000. Since then I’ve been feeling better and playing out more.

I have recently listened to Retribution, a tape from one of your other projects: Cold Turkey. You play all instruments on that tape: guitar, drums, and saxophone. In a Free Jazz sense (i.e. beyond western musical conventions), is Cold Turkey your approach to rhythm and melody? AC: Cold Turkey is my reeds based, Free Jazz project. Initially it was me solo and some of the recordings are multi-tracked recordings. There has been a revolving door of collaboraters  for some recordings and a few live shows as well. I would prefer now to play with others in group situations. Minkshroud is my solo noise guitar project.

Do you try to reproduce some recorded material on gigs, or do you just improvise all the way? Do you ever use pre-recorded material? AC: I try to do something similar to a piece I recorded but I let it go where it feels right. I try to do something different every time with minimal equipment. I sometimes use pre-recorded tapes and loops.

I’m aware of some of your most recent live appearances, such as the 2009 Destroy All Music Festival in Atlanta, or the 2010 Neon Marshmallow Fest in Chicago. But as far as I know, you started doing the lives just recently. AC: The Atlanta festival Destroy All Music was a very cool gig. The organizers were super nice and I met some awesome people there. I didn’t play any festival in Chicago. I’ve played a few festivals in Cleveland, Ohio, but mostly small clubs / bars / galleries and house shows.

You also run Hermitage Tapes. What are your plans for the label, and which do you think is the best release you made yet? AC: Plans for Hermitage Tapes is to keep on doing it, try to get the quality as high as possible and release more vinyl and lathe cuts. Best releases will be the upcoming  Toshiji Mikawa 7” and the Shortwave Intercept double lathe cut LP .

Do you take care of the artwork / packaging? Is the label a one-man project or do you have regular colaborators? AC: I do all the music and artwork and I

Why didn’t you played live until a

get help from my girl Lisa with packaging, orders, and shipping.

What drives you to make music? AC: What drives me to make music? I don’t know, it’s been an obsession of mine since as early as the age of 10. I play music for myself and it gives me great pleasure. I am very happy that other people enjoy what I am doing too.

You have been greatly involved with the noise people coming from Michigan. For example, you had collaborations with John Olson, Aaron Dilloway, Heath Moreland, released through American Tapes... What’s your view on the current US noise panorama? Any new artists / labels we should be aware of? AC: There are a lot of cool people in Michigan doing similar things as me and I find that inspiring. I’ve done collaborations with John “Olzone” and Heath Moerland on both art and music. Lately, I’ve collaborated with Knox from Green Records, and Sam Hooker (Tarpit) who I’ll be touring with soon. Also, some interesting collaborations through the mail from many  people around the world as well as around the country. I would like to do more mail collaborations with cassettes. Selected discography • • • • • • •

Can we know a little bit about your musical tastes? Are you devoted to a small range of styles, or does your collection go from A to Z? AC: My musical tastes are all over the place, from 70’s Punk, 80’s Hardcore, old  Industrial and Electronics, Avant-garde, Psychedelic, Rock and all forms of Noise music, synthesizer music, field recordings, tibetan, gamelan, Blues, etc.

Thanks for your time Andrew!

Cold Turkey Vol One (American Tapes, 2007) Gongs Of Violence (Hanson Records, 2008) Symphony Of Black Holes (Cut Hands, 2008) Synth Tapes Vol. 5 (Digitalis Limited, 2008) The Other Side Of Your Face (Chondritic Sound, 2008) M-16 (Hermitage Tapes, 2009) Urge To Kill (Cérebro Morto, 2011)

Contacts • • http://hermitagetapes.blogspot.com hermitagetapes@yahoo.com


Gianluca Becuzzi
Italian multimedia artist Gianluca Becuzzi is the next in line for a Cérebro Morto release. Active since the early 80’s, his works are divided in very early Electronic Gothic Punk output, and his most recent experimental work based on Electronics and Electro-acoustics. With an inclination towards gothic aestethics, Becuzzi started his musical recordings in the first half of the 80’s with his Electro Punk project, Limbo. Becuzzi then re-discovered his artistic tastes in the turn of the millenium. Since 1999, influenced by newly discovered forms of music (sound art as he puts it), Becuzzi started recording unconventional electronic music under the name Selected discography • • Memory Makes Noise (SmallVoices, 2006) B (Silentes Tapestry, TBA) Kinetix, project which he maintaned until 2010, based exclusively in digital sound processing. He also records as himself since 2006, based on Electro-acoustics and Concrete music. With a strong minimalistic approach, fascinated by the infinitely small, and the exponentially big, he has also done duet releases with Fabio Orsi, and collaborations with Luigi Turra, theatre companies, and video artists. Gianluca Becuzzi points out the direct influence of Alva Noto, Alvin Lucier, Asmus Tietchens, Merzbow, Ryoji Ikeda, Zoviet France, amongst others, and possibly all of Alga Marghen’s catalog. He is above all, as the examples aforementioned, an experimenter.

Upcoming artist

Contacts • •

http://www.myspace.com/gianlucabecuzzi gianluca.becuzzi@alice.it



One of the original acts from the Italian Death Industrial scene continues active and putting out works regularly. N. is one of the most important projects in the Industrial Electronics scene, and his recent release on Cérebro Morto contains one of his earliest works, unreleased until now. This interview was conducted during June / July 2010.

Haven’t found any interviews you’ve made in the past. Is this your first one? Davide Tozzoli: No. I’ve been interviewed in the past by some Russian zines and by an Italian one called Exoterico. Do you think your life is relevant to the sound you make?

DT: Everything that happens or has happened in my life is relevant for N., but in Noise all gets exaggerated and extreme. So you feel attracted to the possibility of becoming extreme through music. Is this an extension of you? Or is it a reflection? DT: Maybe both. Sometimes it is a part of life I’m obessed with. Other times it is only rage against something that is giving me anxiety, which I try to face with a sardonic, cynical, and above all, resigned spirit. At least this is what I think I’m doing. Does N. give you the opportunity to express anger? Against what? DT: Yes! Against life and the absurdity connected to it! You find yourself in a world where everything is fated. You think you‘re in control, but you’re not. This is unbearable. Obviously, I’m talking about life from an existential point of view. I’m not interested in slaughtering anyone. Everybody has their own path. You state: project!”. “This is not a music

collection is the one of a schizophrenic. My favourite genres are Industrial, New Wave, and maybe Krautrock. The most influential stuff for N. is Japanoise, and labels like Broken Flag and Come Organisation. As for Italy, Atrax Morgue, Mathausen Orchestra, and Maurizio Bianchi, are my favourites. I can assume that you came across all that stuff before starting N.. How? DT: I firstly came across the historical Power Electronics scene through a Broken Flag compilation called Neugamme. It was about sound and aesthetic depicting the worst side of human being; a truly cathartic experience. Then, between 1994 and 1995, I started to produce my own sound, expressing the vacuum and rage against life absurdity. What do you pretend to achieve when releasing your music, and in very limited quantities? DT: Actually this is not deliberate. The thing is that there are very few people interested in what I do. Anyway, I don’t have any particular ambitions. Then, will N. continue to exist in the terms in which it has existed until this day? Obscure and on the underground? DT: I think yes! Also because I’ll never make any effort in order to steer the project in any other direction. I don’t like to impose myself to anyone. If things change it will be the merit of someone else. I limit myself to record stuff in my home studio. If somebody is into this I’ll

DT: Yes, it isn’t music. Just pure outburst through sonic dimensions. But if somebody perceives this as music that’s ok too. Personally, I see my recordings as a specific time action. What about your musical background? What artists have influenced you? DT: I listen to everything. My record

gladly share it with them, because this mean we share a mood, a feeling towards life and this is important for me. It helps in the survival of existencial pain. Do you consider yourself as part of an Italian Death Industrial movement? DT: Honestly I leave that kind of consideration to other people. I don’t know. Maybe... How do you relate to other Italian Industrial acts? DT: I know many of them, even though I don’t see them very frequently. In the end, besides some stylistic preferences, we share very few things. But what do you think is the reason for the existence of a lot of Italian

acts, based on extreme electronics and with morbid imagery? Since ADN Tapes there have been people, specially in Italy, experimenting with these sounds... DT: Actually I don’t know what to say about this... I assume Slaughter Productions and Marco Corbelli were, and surely still are, of extreme importance to N.. How did you two meet? DT: Marcos’ friendship has been fundamental, for me as a person, and for this project. Not to mention he materially contributed to release my early works on his label, Slaughter Productions. What do you think of his suicide?


DT: I feel respect and pain. I was very surprised. We used to hang out together quite often... What to say... For sure he left a big hole. But in terms of his work, were you surprised? Do you think he gave us a real picture of who he was through his work? DT: For many aspects yes. Marco was absolutely authentic but he had many sides unknow to the public acquainted only with Atrax Morgue. I remember very funny things of us hanging out... He was ironic, used to make fun of himself, things that I particulary enjoy in people. About your release out on Cérebro Morto, Macabre Lust / Destination Morgue (CM006 / CM006L). Macabre Lust was recorded in 1998, and remained unreleased until now. Do you find it any different from your sound today? DT: Yeah, for many reasons I’m less instinctual. Do you have a more sober approach?

DT: In the beginning everything I recorded was ok. The most important thing was shooting a sonic picture of a specific moment. After, I became more selective. My sound develops in a conceptual way, before I record it. How’s your process for creating and recording sound? DT: Conceptually it’s part of the project itself. As stated in the liner notes of the Memories From Before Being Born release (+Belligeranza 02): “Two empty tape-recorders, one connected to the other, no sound if not the distortion produced by the tape-recorders themselves in play / rec. On this recording of Nothing the modulations of vintage analogic effects: emptied frequencies, prenatal sounds without any sonic grain, audio for a flat electroencephalogram. The selection of the technical set-up through which sounds are produced is part of the N. (Nihilism, No, Not, Never, Nutella...) aesthetics: THE PROCESS IS THE POETICS in Memories from before being born, a possible conceptual-noize manifesto”.

What gear do you use? DT: Generally I use two tape decks, a RAT distortion pedal, an analog delay, a multifilter, a Revox B77 tape recorder ,and a loop station to mix all elements live. Destination Morgue was recorded in a live performance in Rome. DT: I don’t like playing live, but I have good memories of that night. My music was particularly appreciated and the PA was sounding very good. How did the audience react? DT: Maybe one of the few gigs where the audience was enthusiastic. In the end, I even did have fun. Do the live performances play a relevant part in the project? DT: Absolutely not! Why not? DT: Because I hate being on stage, this Selected discography • • • • • N. (Slaughter Productions, 1997)

creates serious psychological problems for me. But I’ve accepted to do it and I can even be happy with it. Some other times I feel it’s just a waste of time. I’ve seen you have a taste in plastic arts. What are your main artistic influences, besides the musical ones? DT: I dig Symbolism, Surrealism, Dadaism... But the major influence on N. has been Wiener Aktionismus, in particular Rudolf Schwarzkogler. In recent years I’ve been interested in Andres Serrano photography. Slocombe, or collagists like Winston Smith, Rozz Williams, the French Fredox or Steve Stapleton. And David Jackman graphic works. Generally I’m interested in everything that is connected to human boundaries and death. Thanks for your time Davide. Any messages? DT: Thank you for the interest in the project. I have no messages.

Autofagia (Slaughter Productions, 1998) Sound Implosion (Nil By Mouth, 2007) Smash My Brain I Can’t Tolerate (Narcolepsia, 2009) Macabre Lust / Destination Morgue (Cérebro Morto, 2010)

Contacts • • http://www.borinnoise.com d.tozzoli@libero.it


Fear Konstruktor

Out on Cérebro Morto, Extremophilia (CM004 / CM004L) is a work from Russia’s Fear Konstruktor. Active since 2007, with works published by labels such as Nil By Mouth (Italy), L. White Records (Germany), and Bone Structure (Belgium), Nikita Evsuk presents himself as an experimenter, in this interview from June / July 2010. Tell us about Fear Konstruktor. How has it all started? Nikita Evsuk: I started in music as a

DJ, back in 2003 or 2004. I played many kinds of experimental stuff, in different cities in my country. After that I started making my own sounds. In the beggining I only used the computer, but now I have a bunch of analog devices. My interest in this kind of devices affects my music. Are you a collector of analog devices? Or is analog the way to go? NE: I like this kind of stuff a lot but I only buy what I really need. All of my music has an analog element to it. Sometimes

I use some digital stuff and some synths on my laptop, but all goes through analog effects chains, before the mixing. Your first works were put out mainly by eastern European netlabels (and Enough Records, from Portugal). Starting with netlabels was an easy first step, or will you always keep doing it? NE: Now I prefer the physical releases, they are like artifacts to me. I like thinking about the packaging and so on. But later this year i have one release on DNA Production netlabel, from Moscow. It’s a really nice label. You have also put out works by some small independent labels (Nil By Mouth, L. White Records, Bone Structure), in very limited pressings... NE: It is very important for me to have my music materialized. As for the limited pressings, everyone who wants to have my releases, will have them. Extremophilia collects tracks from 2007 and 2008. Your most extreme work to date I believe. Closely related to Power Electronics. NE: Power Electronics is an interesting style that gives me the opportunity to use different sounds together, by mixing ambient and noise sounds with rhythmic elements, for example. I’m able to experiment with sound in any way I want. That’s great. And for sure, I like the style because of its great atmosphere. You can physically feel the sound.

I guess I can say that you’re above all an experimenter. What other styles have been influential for your sound? NE: I think my current influences are sounds of nature and some shoegase / sludge sounds. I can also hear in your releases a lot of atmospheric ambiences. NE: Currently I’m working in a more atmospheric and minimal way. I started using numerous rhythmic elements. It’s still noisy and it has the same kind of deep atmosphere, but it’s different now. It’s an evolution. What are Fear influences? Konstruktor’s key

NE: My inspiration, and my interest in analog devices and sound processing. Have you had the opportunity to play live often? Where? NE: Usually I play live about one or two times a month. They are small local gigs, but some of them are really nice. Also, I’m playing on various Russian festivals of experimental music. Could you name us a few? NE: For example there’s Noise and Fury festival in Moscow, Ruby Attack, and ABRAlive. Are the live performances relevant? NE: Yes, they’re very interesting. I do improvised performances mainly.

How’s the crowd reaction? NE: Usually most of the people likes the stuff. What are your next projects / releases? NE: I have an upcoming double C-30 split with Brandkommando / Seth Ryan / Disgust, on Phage Tapes, and a new full length, entitled Mystery Play, coming out on I Had An Accident Records, this month.

It’s a tape full of experimental rhytmic stuff with dub and hip-hop influences. Some of my latest experiments. Thanks for your time Nikita. Any messages? NE: Be patient and do what you want.

Selected discography • • • • The Way Of Agony (L-White Records, 2008) Philosophy of Conflict (Nil By Mouth, 2009) Extremophilia (Cérebro Morto, 2010) Brand Kommando / Seth Ryan / Fear Konstruktor / Disgust (Phage Tapes, 2010)

Contacts • • http://www.fearkonstruktor.com fearkonstruktor@gmail.com


Mail order catalog
Audio and video Andrew Coltrane - Urge To Kill CD-R Andrew Coltrane - Urge To Kill CS (Ltd. 15) Frango - Pego De Lobo-Luz Osso - Invocação Fear Konstruktor Extremophilia CS (Ltd. 33) CS (Ltd. 33) CS (Ltd. 50) Cérebro Morto, 2011 Cérebro Morto, 2011 Cérebro Morto, 2008 Cérebro Morto, 2008 Cérebro Morto, 2010 Cérebro Morto, 2009 €5.00 €15.00 €4.00 €4.00 €5.00 €5.00

Metek / Steam Engine Of The CS (Ltd. 50) Meat Machine - Metek / Steam Engine Of The Meat Machine N. - Macabre Lust / Destination 2x CD-R Morgue N. - Macabre Lust / Destination 2x CS (Ltd. 20) Morgue An Innocent Young ThroatCutter - Gli Occhi Dentro Tribute To Bruno Mattei Bizzare Uproar / Cherry Point / Gelsomina - Bizzare Uproar / Cherry Point / Gelsomina Death Squad - Fucked In The USA Fear Konstruktor - Philosophy Of Conflict CS (Ltd. 120)

Cérebro Morto, 2010 Cérebro Morto, 2010 Nil By Mouth, 2009

€10.00 €25.00 €4.00

CD-R (Ltd. 100)

Rokot, 2008


3’’ CD-R (Ltd. 500) CS (Ltd.)

Freak Animal, 2002 Nil By Mouth, 2009

€6.00 €4.00

i am seamonster - The Sea Was 3’’ CD-R (Ltd. 44) Here Incapacitants - Live In Oslo Norway 2007 Noisewerrrrk - Amok DVD-R 3’’ CD-R (Ltd.)

Universal Tongue, 2007 €8.00 Freak Animal, 2007 2007 Nil By Mouth, 2007 Freak Animal, 2007 Rokot, 2009 €15.00 €5.00 €5.00 €10.00 €8.50

Noisewerrrrk - Anti-Modernist CS (Ltd.) Electronics Sudden Infant - Sudden Infant Vomir - Untitled DVD-R PAL CD-R (Ltd. 77)


Publications Special Interests #2 Special Interests #3 Special Interests #4 A5 zine A5 zine A5 zine 2010 2010 2010 €4.00 €4.00 €4.00

About ordering and wholesales All orders must be done by email. If you’re an interested distributor, please feel free to ask for wholesale prices.

The shipping costs for CD / CS / DVD are as follows: • • • 1 item: €1.5 Portugal / €2 EU / €3 Rest of world 2 to 4 items: €2 Portugal / €3 EU / €4.50 Rest of world 5 to 9 items: €2 Portugal / €5 EU / €7.50 Rest of world

All shipping costs are for normal shipping. If registered shipping is preferred, please feel free to ask. Payments are possible by PayPal and bank transfer. Details will be provided after the order is received.


Collaborations Anyone interested in collaborating with Cérebro Morto, please feel free to get in touch. Possible areas of collaboration include the search for artists, artwork creation, doing interviews for Planemo, etc. Besides that, ideas are more than welcome.

Demo submission policy All demo submissions are welcome! A response will be submited as quickly as possible. Every single one will have feedback. Any format is accepted, but it’s necessary some information on the project, like a short description, links, history so far, etc.

Get in contact Email cerebro.do.morto@gmail.com Postal address Tiago Jerónimo Rua do Brasil, 98, 1º Esq 3030-775 Coimbra, Portugal

Get updated on activities Website http://cerebro-morto.x10hosting.com Email updates Subscribe by sending an empty email with the subject “subscribe”, to the aforementioned email address.

This publication can be subscribed by means of email or postal address contact. Details on the inside. The price per edition is €1.50.

Originally issued with release CM007 / CM007L.

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