May 1 • By • 1538 Views • No Comments on STEAL YR FACE: TREMORO TARANTURA BS, Interviews, Issue 16 // May 2013 Tagged with •

This rarely happens. We first circulated this video amongst our reviewers and had reactions of shock, puke, and praise. One of our writers commented, “…the way it is filmed reminds me of that gruesome subway scene in Irreversible. You can’t look away.” The daring nature of the video, married with the fact that Tremoro Tarantura‘s been somewhat mysterious on the Oslo scene– gave us good reason to wanna feature the band this month. We present you with a debut of their latest video, “Cameneon (Blue)”, the second single from their latest album. Warning– not for the weak of heart! Keep reading for our May Issue Cover interview with the mind behind TT.


Interview with Tremoro Tarantura

We first found you on the scene through a few mp3 and home recordings, then VIRTULIPAN COLLAPSEECON in 2011. How long have you been playing music, and when did you first decide to make a record? 

TT: (hard to answer, i don’t know)

Where did the moniker “Tremoro Tarantura” come from, and do you prefer to remain an anonymous individual, or is it representative of a collective group of musicians?

It came from playing around with languages, words, writing lyrics, creating portmanteaus and neologisms. There is no deeper meaning attached to it, but I had in mind that neologisms eliminate irrelevant hits on the internet, and that they can trigger curiosity.

There are degrees of narcissism. Im one of those who don’t necessary feel a need to have his name written all over the place, and thats why it was used as a alter-ego in the beginning. But as the whole concept became bigger and more clear it was adapted as a band-name. And this is my biggest concern right now.  We are itching to get out and play and I guess this will be the beginning of a demystification, and a gradual cure for our heliophobia.
You will have to wait and see.

Heliophobia. That sounds like the fear of balloons. 

Yes we are afraid of that too.

There’s a huge affinity with lots of Oslo musicians with psych/experimental/noise/avant–fill-in-the-blank. Some of your songs have the kraut-dynanics of repetition and almost visceral, trance-like feeling. What elements do you draw on from your biggest music influences?

The trance-feeling is inspired by Detroit-techno(UR), minimal-techno and hours of krautrock like Neu! and Harmonia. But theres also a great deal of Miles(Bitches Brew-era), AC/DC(Bon Scott), Wu Tang, Son House, Mahavishnu Orchestra and Gainsbourg/Jean Claude Vannier in there too. Penderecki` s Polymorphia is the blueprint for how the mixing is done in the way that I want it all to sound like a cohesive entity. Ive also been paying more attention to calculated-pop music seen on Vevo and MTV-like channels. This kind of music is usually seen by underground musicians as the devil himself. Im just curious if I can get something more out of it.

Is this a positively or negatively charged curiosity? I can relate in the sense that, I’m less cynical towards bands on major labels then I was before. Maybe when I realized there’s equal amounts of terrible self-serving indie bands as there are honest people, trying to earn a living on a “major” label.

Positively. Im into music, good melodies and hypnotising rhythms, and I believe these can be found in any genre or style. The thing is; if someone is making something that genuinely moves me -Im going to listen. How the artist justifies his/her work is as trivial as his/her political or religious beliefs.

What are your most important production “tools” to achieve the sound you want? 

( nerd-tech-talk? please no- hehe)

My bad:)

Your recent song, “Avaleeches” took a slightly different turn from some of your earlier recordings. It has a bit of the punk intensity of bands like Serena-Maneesh/Silver/Pirate Love. Are you connected to their music in anyway?

As far a the “punk intensity” goes, I needed a reaction to previous work. Virtulipan Collapseecon was an easy-going, mellow- thing made from a few days of brainstorming. Everything from “Vayyns” and afterwards was supposed to be the opposite. I wanted to stop jamming and write real songs again. Inspired by music with claws and adrenaline that I listened to as a kid.

S-M means a lot to me and have a strong impact in how I understand the relation between pop and the avant-garde. Never really payed attention to the other two.

Not everyday a noise musician decides to film a full-on view of the act of birth. Tell us a bit about you “conceived” the video idea.

Cameneon was written in 2009, the idea how it should be presented became clear three years later.
It can take me years to crystalize a song, finish writing, mixing etc. Time helps you to distance yourself from your own work, it also helps you to reflect about it.

Its also hard for me to draw a clear distinction between the visual and auditive when working with music. To me these two are correlated and hard to separate from each other. Synesthesia might be an explanation. The urge to control everything might be another. This time I just took an advantage of it.

Environmental factors has some relevance too.
There is a medical/physiological-discourse going on in my parents house. Being exposed to that stimulates you in different ways I guess. Seeing metal-bands glorify death was cool when I was 16. Psychedelic music was interesting to me for a year or two. Now, its not. This is an alternative, DIY-style.

Synesthesia! Ever read any stuff by Alfred Jarry or the Pataphysics?

Nope, sorry.

There’s definitely some stark beauty to it, as it’s very gruesome yet powerful. Are there any literary or filmic influences involved? 

Yes. Any good story has some kind of conflict in it. Something that almost begs for a resolution. I think that a feeling of conflict or “problem” can be created by dissonance or a repulsive mood, while a resolution can be created by the opposite; consonance and a catchy melody. They can be presented chronologically or simultaneously, which creates ambivalence, tension and dynamics which i find fascinating.

I also tried to adapt the idea of “planting and payoff” used in films to give a feeling of continuity in the songs.

In films the director usually presents some kind of trivial element early on and this usually gets its explanation later , or at the end of the story. My idea is to “plant” melodies and then only repeat them to make them fully bloom, resolve or to take the story to another level. Im not really interested in typical verse-chorus-verse-chorus-structure.
Its all about the feeling of moving forward.

Very much reminds me of the French philosopher Deleuze’s notion of ‘concepts’. That an idea is only meaningful in connection to what it’s producing. Sometimes you ‘sow the seeds’ of a concept to conjure movement, often chaotic, but also liberating. For example, the concept of the “refrain”– a scared child sits in the dark, terrified. So he sings to himself a little melody. The melody he sings is the “refrain” projected into the darkness, to change/liberate himself from his surroundings……I find a lot of this notion fascinating (Richard Pinhas/Heldon is one big proponent of Deleuzian concepts put into music)– but I often wonder if humans have a natural tendency for order in music. That we crave verse-chorus-verse, at the end of the day. Don’t you ever have an urge to return to the traditional?

There are many different musical traditions that are not related to the typical verse-chorus structure, its relative to which tradition you come from.

But I think that humans do have a strong need to categorise external stimuli and attach meaning to it to make the world a safer and predictable place to be. Making patterns, arranging music and organising it might be a sign for just that. Musical conventions and traditions might work as some kind of safety-net in that sense.

But again, there are different types of people; those interested in safe and predictable, and those who want to experience new stimuli and move on. And most of us probably fall somewhere in between.

To me tradition is always the starting-point, but its the destination that really interests me. Its about swinging back and forth. Reflecting what you did before, where you are now, and then progress.

Speaking of a discussion of ugliness and beauty, your video definitely has the shock element. Is that part of your intention?

Not sure if anyone will get literally shocked. They might get disgusted or scared away. Most of them wont even finish watching the video. It was just essential to the theme and lyrics… To me.

If it moves you, in contrast to 99% rock videos out there, great. Provoking any kind of reaction is to me  synonymous with attention, and I would be a liar if I told you that it doesnt give me any satisfaction. But the most important thing was to make something different. That was my real intention.

So is that you singing in these most recent tracks?

Yes, me and Frøy.

Where do you see Tremoro Tarantura in 1 year? or 5?

We belong to the Ephemeroptera-order. Thats all I can say.

Do people of the Ephemeroptera order wear large, monk-like robes?

Haha, they wear wolf-fur

Is it true you’re playing a “debut” show at Revolver soon?

(not sure if its going to be the first one, or if we`ll do one the week before. but yes, we are booked to spread dissonance and general bad mood june 7th at revolver)



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