this winter i got an idea to make an interview (online sort of) with Antony Milton. we spoke a little and understood that time in it's zones difference and in global sence will be spoiling the idea. so i made a small list of questions, sent it to Antony and in the end of february received this wide story with a compilation of music Antony was participation in misc shapes. originally it was planned to appear on russian-based WHNZ 2.0 and it appeared there... errrr due to the lack of free time and my english – after 2 months since it was made. but it was really stupid of me not to put it online here... lame of me. for russian-speaking community this info, placed below, available here.
thanx a lot Antony! and hope there'll be more of u, artistic guys, who'll accept an invitations to such promo acts in ru-net and here, within this blogposts.

"My name is Antony Milton. I am 37 years old and you catch me at the end of one chapter of my life in music. I am writing this in Wellington, the capital city of New Zealand where I have lived for the last 9 years. In a couple of weeks time I will be leaving New Zealand for a years travelling in South America. I am at once sad and excited about this change. I am leaving behind people and places I love and putting many projects on hold, but I am also looking forward to a new adventure and to see what happens. I am not even sure whether I will be returning to this city.

The 9 years I have spent in Wellington have been very busy for me. I spent several years at university and since then have worked a full time job. I have also run my record label PseudoArcana and pursued my own music career which has resulted in my spending a couple of months out of most years touring overseas.

I had initially thought that PseudoArcana – as a label – would focus upon music from New Zealand. This seemed only natural – with my own music I have been particularly interested in trying to document some sense of a feeling of place. As it turned out however the label was quickly dazzled by the zeitgeist of the times. In 2000 the internet was suddenly as normative an environment as the street outside my window and I quickly found myself as much at home in an online community of like minded artists as I did amongst my geographical peers. It seemed perfectly natural to document the music from within this greater community and the first extant release by someone other than myself on PseudoArcana was the 'Dyrø' CDR by English underground musician/composer/Tibetan scholar Simon Wickham Smith. At the time Simon was talking of doing a New Zealand tour and it had been suggested that I tour with him. In the course of correspondence it crossed my mind to ask if he would be interested in doing a CDR for PseudoArcana. To my great surprise he said yes.

Up until that point the label was still a very small scale hobby. I had been making around 25 copies of each title to trade and give away and I had very little experience when it came to actually getting albums 'out there'. Once the master arrived it was immediately evident that I was going to find a way of doing justice to what was really a very significant work. Dyrø was a great roaring howling beast of an album. It also turned into the perfect Trojan Horse… I got some advice from people regards distribution contacts and started emailing. Things changed overnight when most of these distros seemed prepared to take a chance on not only Dyrø, but the rest of the catalogue as well. Naturally enough this also helped in gaining the label some degree of international exposure. In fact I estimate that as much as 95% of the stock I’ve sold since then has gone offshore.

One of the things that keeps me interested in running a label is the huge range of possibilities available for making creative packaging. I get enormous pleasure from making objects that are thrilling and exciting to receive and hold and look at, as well as from spreading great music. Recently I have been making many books to accompany the releases on PseudoArcana. Playing and releasing this music has put me in touch with a great network of likeminded people who have become real friends. I feel a strong connection with labels as diverse as Jewelled Antler, Archive CDs and Root Don Lonie for Cash. Whilst the label itself makes very little money the satisfaction I get from putting out records that can provide so much meaning and pleasure makes it seem well worthwhile to me.

The kind of music that I am interested in releasing is music that reflects a belief in something bigger than the mundane world. I am interested in putting out music that can operate something like a window through which one can climb to discover and experience – if only for a short time – that there is much more to life than basic work/eat/sleep. At the same time I am also somewhat a critical thinker and do not wish to claim that there is any sort of empirical 'truth' to such day dreams… I am interested in working around this conflict but have no real desire for its resolution. Ultimately I guess I believe that such day dreams are amongst the most wonderful things human beings create as a species and that this is valuable enough a reason to perpetuate them.

Having such a philosophical stance as this for the label has led me to release music that is experimental, psychedelic and ecstatic, but also other music that is formal and theoretical. PseudoArcana has released music by artists such as Birchville Cat Motel, Ashtray Navigations, My Cat Is An Alien and The Skaters as well as music by the likes of Seht, Formatt and Goh Lee Kwang. Aurally I am interested in a range of fidelities. I frequently like music that is very distorted as I find these types of sounds exciting.

While I am overseas PseudoArcana will continue to operate, but there will be very few new releases until my return in 2010 when I plan to release CD/books by New Zealand's Sci Fi ambient hermit genius Omit, and Italy's My Cat Is An Alien.

Needless to say such interests also manifest in my own music. From a very young age when I was given a tape recorder for my birthday I have been fascinated with recording sounds. I enjoyed all kinds of sounds when I was young – even banging the microphone to make horrible distorted percussion tapes – and later on my father also started to teach me the guitar. I had been very interested in poetry before this and inevitably I started to use the guitar to write songs. Although I generally play far more abstract music than I do songs these days I still continue to compose songs.

In my song writing I try to capture the feeling of a particular time in space. An event. For this reason my songs are very sketch like and 'unfinished'. I want to record them so that they sound like the very moment at which inspiration or strange insight struck. I want them to be of their time and am not concerned with making them into anything bigger than that time. Today I am inspired by haiku in my song writing. One of my main hero’s in music, and song writing in particular, is Alastair Galbraith as I believe he also is interested in catching such fleeting states.

An interest in sound itself led me to the huge world of experimental music. In my drone and noise music – the projects such as The Nether Dawn, A.M, and Glory Fckn Sun – I am again interested in climbing through the window. Sometimes I want to smash through it into a state of bliss and light – a great ecstasy. Other times it is more about setting up a great warm vibrating stasis, a hovering in a grey dawn light. Artists whom I feel an affinity with and have been inspired by in making ecstatic noise music include Keiji Haino – for his cosmic sense of proportions, Campbell Kneale (Birchville Cat Motel/Our Love Will Destroy the World) – for the Holy ROAR, and Peter Stapleton (Flies Inside the Sun/Eye etc.) for the ecstatic gestural intensity of the projects he has been a part of.

With the Paintings of Windows project my aim is to work with recordings of places and events and digitally manipulate and craft these until they play like the perfect remembered soundtrack of these moments in time. That is I will use field recordings and edit them such that they are rhythmically and thematically 'perfect' to my own subjective ear.

I have been lucky enough to collaborate with some great artists over the last few years. I have a duo with Campbell Kneale called With Throats As Fine As Needles that records and plays live. With Stefan Neville (Pumice) I have a duo called Sunken, and with Bill Wood (from the 1/3 Octave Band) a duo called Birdcatcher. With Jani Hirvonen (Uton) from Finland I have recorded 2 albums under the name Nthnth/Sthsth. I have recently undertaken a collaboration with Alastair Galbraith, and am in a psychedelic rock band called The Stumps with Stephen Clover (Seht) and James Kirk (from Sandoz Lab Technicians and Black Boned Angel).

As an artist who is interested in records as a medium in and of themselves – in the physical artefact as well as the sounds that these contain – I am a little disappointed by the movement toward downloading mp3s as the primary means of attaining music. I’m sure that this is entirely selfish of me – along with many other labels my distribution channels have been decimated over the last couple of years... But I also feel this way because I myself get so much pleasure from designing and making the covers, and even books, to accompany the music I release. Making a fully integrated and somehow richer artefact. I want people to keep wanting these because I want to keep making them. I also want to continue buying other peoples records and CDs. I grew up associating music with art and paper covers and 'records' have a genuine emotional resonance for me that is slightly more powerful than simply the music by itself.

I think many people feel the same way; nobody is interested in just the data – everyone needs at least a back story of some kind. If vinyl and CDs do become obsolete – if the factories making these collapse – something else will take its place. Something tangible. People will always seek and find music and other forms of expression that speak of things more wonderful than what is available on the surface. People will always search after conduits to brief glimpses of that which may even be considered 'magical'. Because really that is what this is all about. There is a part of me that genuinely delights in seeing the 'music industry' burn, even if it means that things become more difficult for myself as 'a guy who runs a label'. If the shit is cleared away maybe people will be better able to find and smell the roses?

So it is a tumultuous time for me to be leaving all this behind for a year. I really don't know what I will be coming back to in 2010 (besides, of course, the inevitability of yet more change…). One thing I'm certain of however is that I will continue to be driven to make art with sounds, and to wrap it up in stories and other layers of meaning because that is what I do and what I have become."

Antony Milton. February 18, 2009.

PS: I'll be updating my myspace and the PseudoArcana site with news as I travel. There are several releases coming up this year while I am away.

Mrtyu 'Ornate Shroud' LP (Tipped Bowler) in March (actually I forgot to even mention Mrtyu, my ritualistic black doom project... haha)
The Nether Dawn 'Well Song' CD (Porter Records) in May.
Antony Milton 'Tapes Punakaiki' CD (Ultra Hard Gel) in June.
Antony Milton 'Summit is Fragile' LP (reissue on Ecstatic Yod) (sometime later in the year)

There are also a completed but as yet untitled Nether Dawn LP on Peasant Magic, and a Paintings of Windows CD on Rhizome.
I am hoping to play some shows whilst in Argentina in the 2nd half of 2009.


Antony Milton/PseudoArcana
PO Box 24409
Wellington 6142
New Zealand

New releases:
Antony Milton 'Summit is Fragile' LP (PseudoArcana)
A.M 'Rag Red Reverie' CD (PseudoArcana)
Glory Fckn Sun 'Spectra' LP (Tipped Bowler)
Glory Fckn Sun 'Vision Scorched' CD (PseudoArcana)
Paper Wings 'Ash Field' CD (PseudoArcana/BlackPetal)
Nthnth/Sthsth (A.M/Uton) LP (Release the Bats).

Birdcatcher 'The Sky Tied Down' 2CDR and Book.
My Cat Is An Alien 'Triangle' 8" lathe.
Bad Statistics 'Lucky Town Gone' CD (PseudoArcana)
Keijo 'Carry On With Us' CDR/Book.
Seht 'Dead Bees ((the((quiet)earth))suite)' CD.
Sunken 'Eye Electric Organ, Brain Electric Nerve' CD

(authorized compilation made by Antony and titled as "Selected pieces for WeHaveNoZen 2000-2008")

(35 Mb, Mediafire)

3 комментария:

hhhaaaooonnn комментирует...

This is really great, quite a treasure. Thank you very much for this.
More interviews?

african комментирует...

hope so))) soon come a few

august комментирует...

Absolutely FANTASTIC stuff!!!!
that blew my mind!