is the nefarious genius behind the Luasa Raelon
and Brittle Foundries
projects, as well as the Snip-Snip
label. I got a chance to do an interview with him, and this is how it went:
Royce Icon: “Consumed within the years of lead” has a rather different sound than a lot of your previous Luasa Raelon material. Even more dark and sinister than before, more organic and brooding. What gear were you using on that? Was the creative approach a lot different on “consumed”?
David Reed: I was using the same gear I had for most of the releases previous to CONSUMED. A Korg Electribe, a SP-202 sampler, theremin, cans, mics, and pedals. I think that the change in sound was the result of it being my first CD so I wanted to be really good and Cordell Klier did a great job mastering it, which gave it a more pro sound. I recorded a ton of material for it and used what I thought was the best stuff which worked well together. I was going for a more industrial sound and was working for a specific sound off of the ideas I had for the release. I don't think the creative approach was much different from what I had been doing at that time and continue to do. I try to have a good idea of what I want to do with specific releases thematically, be it a story or a more abstract concept. I use these ideas to generate material and then start recording.
RI: You’ve referenced some improv groups you were a part of in the past. Could you give a little more information about those groups? (what instrument you played, musical style, etc?)
DR: I started playing in a group that was formed by Daniel Kelly to play John Zorn's COBRA piece. I had a sampler and they wanted one in the group. We then transformed into an actual group called the Avant Collective and did more game-theory pieces, free-improv, film scores, and scored pieces written by members of the group. We played out a ton and did so much for a couple years around Columbus. It was a really great time and helped form many of the ways in which I use my gear and organize my own material. The group faded out but we still work together. Rocco DiPietro will ask me to play on pieces he has written. I have also done a trio with Mike Shiflet on electronics and Larry Marotta on acoustic guitar and with other ensembles with Larry along with just jamming with free-improv people at their houses.
RI: The Luasa Raelon project has been released both on your own snip-snip label and on other labels. Do you have a preference between self releasing and other people releasing your stuff? (if so, could you state why?)
DR: I don't have a preference. Both ways are cool but have their differences. When releasing something yourself, it takes an investment in time and money but you have control over everything and can make more $ in return. I personally don't have some of the resources that other people have available to them like mastering software and art software and know-how which other people have which determines the look and sound of my releases. With other labels releasing my material, I just give them a mix and they do the rest. I don't have to spend the time or money to get it out there. They also may have the resources I don't have. It also means that a person likes your work enough and thinks it will sell. It is nice to have another's opinion on the material and art skills to use in the design of the packaging and you get that when working with someone else.
RI: Could you give us a gear list?
DR: In the past year I have acquired more gear than what I used on CONSUMED so along with what I have previously mentioned I have:
a microkorg, and SH-101 synth, a MC-202 synth, a SH-32 synth, the theremin, a Spectral Audio Neptune synth, a SP-202 sampler, a couple gas cans, drum triggers, microphones, a noisewash, the korg electribe, various distortion pedals, ring modulator, alesis nanoverbs, a synthwah pedal, a zoom sampler, a couple other boutique pedals..... [I have been really getting into synthesizers lately. I have that other all-synth project going you know.]
Anyway. I like bringing new sounds and textures into what I do and have slowly brought more gear in to give me more sound options. I want to keep evolving/changing to keep things fresh and interesting. I can experiment and bring the new sounds that I find to luasa raelon.
RI: What are some of your influences (musically and otherwise)?
DR: There are quite a few different things that influence me and help generate material for luasa raelon. I listen to all kinds of music. I like reading horror, sci-fi, and historical books. I have quite a few books dealing with certain artists and art movements/eras. Horror movies and survival-horror video games also go into the mix. If you are interested in details, I will say that past releases have used the art of DiChirico, Max Ernst and Magritte, alchemical art, artic exploration, HP Lovecraft, Silent Hill, black metal, classical music, articles out of Fate Magazine and National Geographic, and JG Ballard's work to generate subject matter me to work off of. I will also come up with a story outline to use as a basis for a release: each track will be like a chapter or vignette and the release a whole story.
I started doing noise as the result of listening to Merzbow and wanting to make something like he was doing. Along the way, I keep listening to new artists, reading new books, and running across new things in museums or on TV that I bring to luasa raelon and my other projects.
RI: If you could collaborate musically with one person (living or dead) who would it be?
DR: To narrow it down to one is pretty much impossible. I would really love to do a collab with one of the black-metal guys like Wrest of Leviathan or Malefic of Xasthur. Scott Candey would be another person that I think would be cool to work with. That said, I have been working with greh of hive mind, etc and our collabs went SO well that we want to do more. One is on our split CD. It was such a great time and such a postive experience.
RI: How do you feel about the experimental/ noise “scene”?
DR: I think it's great! I think the scene is getting better all the time. There is so much more activity now than I think there was when I started five years ago. There are so many cool projects now and people are touring now-it seems much more extensively than in the past. There are a bunch of great labels making great material available. It is so great seeing the level of involvement in the scene.
RI: Are there any new snip- snip/ luasa raelon releases in the works we should know about?
DR: There is the hive mind/luasa raelon split CD that is out now. It's entitled NIGHT MAINTENANCE and it available from me or chondritic sound. There will be a new luasa raelon CD released on eibon records in the near future. It is entitled THE POISON CITY. I have it recorded and mauro has it. Be on the lookout for that. As for snip-snip, there will be releases by Neuntoter Der Plague, a murder of crows/marax split, and envenomist in the near future along with more great artists over the course of the year.
RI: Do you have any advice for fellow noisicians / artists?
DR: Have fun. Do what you want to do without worrying about expectations or fitting into a specific style or genre. I do luasa raelon because I love doing it. It is a creative outlet I need in my life and I would be doing it even if no one cared but me.
RI: Is there anything else you’d like to add (anything goes)?
DR: Thanks for this interview, Royce.
There will be more touring in the summer and fall so come and check that out if we are going to be playing in your city.
I have a couple other projects going on, envenomist and brittle foundries. There are releases by both available from me at snip-snip records along with luasa raelon CD's and CDr's.
for snip-snip records
for luasa raelon
for brittle foundries