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Holomorphic Radiance and Terror
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Nine months is a long time. Six thousand, five hundred and seventy four hours, to be precise. A human life can gestate and completely form in that period. It’s also the amount of time that has passed since one of the year’s most ruinous slabs of audio terror was released via Sentient Ruin Productions… Vacuum γ-Noise Transition, by abyssal Swiss deconstructionalists DSKNT.
After they released the cosmos-shattering PhSPHR Entropy back in 2017 (for which we spoke to the elusive ASKNT, maestro behind all entropic dissolution of calculation and science, and which also made it onto my best of 2017 list), one could be forgiven for thinking that the universe must surely have been nullified and there were no fresh avenues left in which to explore and exploit the chaotic disorder inherent in the physical reality. Guess what? Vacuum γ-Noise Transition proved that theory completely and ineluctably incorrect. Radiating defragmented noise in all new forms and patterns, the Portal-esque dissonant black death chaos reaches distressing, discombobulating extremes of inhumanity and suffocating abrasiveness by managing to be somehow even more expansive in scope and dense of form. These tracks are less like songs and more a monolithic expression of the violent immensity of existence itself, broken down to the very basic building blocks of life. As you can imagine, plunging into that primordial cosmic soup is a fucking nightmare.
It’s an incredibly harrowing yet expansive listen, and one that has been echoing on solid rotation in the BMD tombs throughout the year. So, why did it take so long for us to write about it? Because, dear readers, we endeavoured to reach the mysterious ASKNT for a follow up chat once more, and the plague that hath enveloped the world made damn sure that was going to be very difficult at both ends – we first sent these questions in February and the discussion was only finalized a week or so ago. Luckily, any length of time would be worth the wait to glean even the faintest insight into this remarkable recording, and ASKNT has also invoked vocalist Quasar (Antiversum) and visual artist AntïGraphic in his responses for added depth.
Thus; revisit Vacuum γ-Noise Transition again via the streaming link below and prepare to have secrets and meaning that you’ll likely never have figured out on your own (even after nine months) revealed via our discussion. It really is an album that keeps on giving, and there are still copies left at Sentient Ruin too – go pick one up if you haven’t already. The inexorable decay of reality awaits.
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Greetings, ASKNT. It’s a true pleasure to be speaking with you once again, this time for the release of the highly anticipated second DSKNT album. After obliterating us with your stellar debut album PhSPHR Entropy back in 2017, to me Vacuum γ-Noise Transition represents another huge step forward into audial terror – it seems to be an even deeper vortex, filled with a somehow greater coruscating violence and fury. Did you consciously approach this follow up differently in any way, after the release of PhSPHR Entropy?
ASKNT: Hi Aaron! First, thanks again for your interest in DSKNT work!
Yes, since the very beginning of the composition process, I wanted to deconstruct both sound and riff style in order to get a more in-humanized/inorganic approach. It was essential for me to create a more suffocating atmosphere, something far more opaque; I’ve used a solid/monolithic sounding for Vacuum γ-Noise Transition. Clearly, it was a real topic by itself. On the other hand, Vacuum γ-Noise Transition is not a “riff-based” album (as PhSPHR Entropy was), the articulation of the album is centred on its global movement.
Much art is created under trying circumstances and 2020 itself was certainly a testing year for many, but I know the recording of this album was beset with some extremely unfortunate setbacks for you in previous years. For those unaware, what happened? How did it affect the recording of the album, and how did you manage to recover afterward?
ASKNT: If you’re speaking about the fire, yes. It was a real pain in the ass. My studio and rehearsal place completely burned down, accidentally. That’s probably one of the reasons for the delay between the two recordings, but not only. After the fire strike, it was mainly a material (even psychic too) and money issue, both can be solved by time. This event closed a chapter, especially in the way I made music and the relationship I had with it. Now, I restricted myself to have the minimal gear to be able to record, no more no less. Vacuum γ-Noise Transition was recorded in this minimal new setup.
If I also recall correctly, the title of your debut referred to disorder and chaos. What does the title of the record refer to this time around?
ASKNT: Vacuum γ-Noise Transition embeds another theme of the global concept of disorder and entropy. Vacuum γ-Noise Transition is more focused on the low-level mechanism of the chaos, at the fundamental level. PhSPHR Entropy is more about scales and time; the message is quite clear in term of “your non-existence” in comparison to vastness of time.
A few months ago (at the time this interview was originally conducted – Ed), I noticed something fascinating that I simply have to enquire about. Communicated via the DSKNT social media was a photograph of what appeared to be a series of complex mathematical equations on grid paper. Did these calculations have anything to do with the creative process for the new album? If so, how?
ASKNT: Not directly! Even if DSKNT embeds a shitload of maths or physics concepts, the image, as I remember, was taken during a break when the album was germinating, when I was jamming. The fact is the music led me in this particular case to a solution to the calculation. The lyrics tend to represent this natural and ominous complexity and disorder that only maths can formalize and represent with fidelity.
This may flow on from the previous question (and may be just my personal perception), but this album seems more “locked in”, more focused and direct than the previous. It’s almost as if you’re acting as a conduit for unseen and unknowable destructive forces to speak through you with unfathomable power. I’ve been aware of a few artists lately who implement some form of automatic writing during their inspirational and creative processes, to varying degrees – is there any of that present in DSKNT? How much of the process of creating would you say is purely calculated?
ASKNT: Well, interesting! You’re right when saying more “locked in”. All the concept of the album is far more abstract than the entropic vision of PhSPHR Entropy. Far more dystopic too. It’s maybe why it was crafted to be much more, as you say, direct. The more, let’s say, Death Metal and wall of sound (noise!) approach was clearly used in this intended way.
The writing process is not as much calculated. The concept leads to certain decisions and to keep the best coherence between all the aspect of the album (sounding, lyrics, visual, even communication). At a time, you must harden the idea, that’s where calculations come in the game. I will take words from Quasar to describe what kind of calculation DSKNT is about:
QUASAR: DSKNT is the raw source code, ANTIVERSUM the compiled and visualized program and content of it.
I could quite easily ask about every track on the album, but I will restrict myself. There are two that resonate as particularly ominous: the bookending noise pieces, introduction ‘Spin’ and closing track ‘Spore’. Given what occurs on the tracks between these pieces the sound alone is portentous; but the possible implications of their titles when considering the album as a whole strikes me as especially profound. If I may ask, what is the meaning behind these two compositions and their titles?
ASKNT: Both tracks were needed for such album, especially for the Drone style. Let me explain why. ‘Spin’ has to be the access to the whirlwind of the album, the constant fade within the track is aiming to move, slightly, seconds by seconds, the listener’s focus to the forthcoming noise. It’s a forewarning. As you may know, the spin can be understood as a particular movement of the elementary particles, a kind of angular momentum. This said, this momentum is kept across the whole album, a complex maelstrom of layered guitars and noise. ‘Spore’ was initially planned to be part of ‘Deconvolution Ξ*0 [Part II]’. But, to keep a logical symmetry of the track’s cut and evolution of the concept during the album, it must be a track by itself. The goal of the track is clear. A harsh and fast shutdown of the album, by a narrow band filtered Geiger counter. The name of the track is interesting because I see it as both the swarming particles across the universe (Geiger counter) and the name itself which refer to the spread of nuclei, even life.
Another quick word on the structure of the album. It was initially planned (calculated) to have only 3 tracks of which 2 very long ones, Abruptum-like: the first containing roughly riffs and structures from {Spin – Deconvolution J/ψ [Part I] – Transition K0 [Part I]}, the second from Θ-Noise – Phase Shift and the last from {Transition Ω- [Part II] – Track Title : Deconvolution Ξ*0 [Part II] – Spore}. Vinyl-wise, it would be extremely difficult to pack!
I’m particularly taken by the cover art this time – imposing, challenging and terrifying, it is once again an AntïGraphic conjuration but a completely different approach to the art that adorned the previous record. What is this piece intended to signify?
ASKNT: The work of Antïgraphic is precious and each of the DSKNT releases involves a closed concept that it is sublimated by the artwork. The artwork in the DSKNT releases is an “in se” goal. Let Antïgraphic speak on the content of the front artwork:
AntïGraphic: Thank you very much! Basically, you have used the exact expressions what I wanted to get at with the artwork.
The visual concept is an attempt to visualize the musical and lyrical work of DSKNT on this record with the aim to challenge, if not to overtax the viewer.
What you see are several photographs in which I worked with strongly varying viscous materials. Through harsh temperature fluctuations, as well as different adhesion grounds and under inclusion of gravity, countless photographs were created. The greatest difficulty for me, however, was the timing to capture the respective aggregate state photographically, as well as good lighting from the best angles, which was crucial for the respective final motif.
Finally, last but not least, the artwork in this form only came about because of the trust placed in me by (m.). I enjoyed complete freedom in both the research and conceptual idea and the implementation, and I was not subject to any external conditions at any time.
So, what is it, you ask? It’s imposing, challenging, and terrifying.
You have once again elected to partner with the mighty Sentient Ruin Laboratories for the release of the album, on a variety of formats (including the first ever Sentient Ruin CD release). I feel the pairing of DSKNT and Sentient Ruin is a perfect marriage, so to speak, but what brought you back to continue working with them?
ASKNT: Well, I think so too. Most of the acts signed on Sentient Ruin Laboratories contribute to make the extreme metal styles to evolve. The label has a clear signature, visually and musically. On top of that, they are professional in all the process, at very each steps. The guys really listen to the “artist” and understand its needs. Looking forward for the next!
After the dust has settled on Vacuum γ-Noise Transition, what lies ahead for DSKNT? I recall mention of a split being recorded a while back. Will that eventually see the cold light of day? Do you have any other material or plans in the works?
ASKNT: For now, I’ve begun to work on new material, but nothing is clear as today, especially speaking in terms of format, length. The concept of the next plans is still germinating. It will take time to enlighten what will remain and what should be trashed. It’s a recursive procedure on my side to get all the architecture of the forthcoming tracks. The split album is still a plan: no date or info whatsoever.
And finally, as the death throes of last year fade into blissful obscurity, I’d like to ask – what art (music or otherwise) affected and inspired you the most? You gave us a list of great recommendations back in the heady days 2018, got any more?
ASKNT: Music is mostly the art in which I can dig a lot. Surprisingly, I would say that most of the music I listen too are classics. I’m not looking actively for new sounds or bands; I’m mainly in the reverse process. Old (80’/90’) Black Metal style is still present for me. It flows in my veins, that’s what I mainly listen to. On the other hand, each year, I can find something interesting and “new” to listen. This interview took too much time to be written and that’s perfect for this question (sic ahah)! Portal has possibly released its best material until now (Avow and Hagbulbia), one of the bleakest, gloomiest, and darkest outputs I’ve heard until now. Mh, ah yeah! and, the almighty Darkthrone just released Eternal Hails… too! I really love it! Last Paysage d’Hiver is very good too!
Sincerest thanks for your time once again ASKNT, and also for the incredible new album that has exceeded expectations. Any final words or wisdom for us all?
ASKNT: Glad you liked it! And again, thanks for the questions and interest!
On behalf of DSKNT
ASKNT/QUASAR
iħ∂tr,t= –ħ22μ2+V(r,t)r,t
Vacuum γ-Noise Transition is available now via Sentient Ruin Laboratories.
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Purchase Vacuum γ-Noise Transition on digital, CD, LP and tape from the Sentient Ruin Laboratories Bandcamp HERE or webstore HERE.
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