Posts Tagged ‘Squid Fist’

Polyartists have always had a hard time: we exist in a culture obsessed with pigeonholing, of ascribing a single genre or a medium. Brion Gysin’s ultimate failing could be aligned to his unwillingness to commit to any one mode of creative output, and over 50 years on, creatives exploring multiple outlets seem to sink beneath the radar simply by virtue of their evasions of prescriptive categorisations like ‘musician’, ‘painter’, ‘writer’ or ‘sculptor’.

Casey Deming – born  in Owatonna, MN, USA, and resident of the Twin Cities (that’s also in Minnesota, and unrelated to any kind of Lord of the Rings-type fantasy world) – has spent a career straddling multiple outlets, ranging from collage to experimental music.

John Wisniewski recently pitched some questions to him about his work for Aural Aggravation.

JW: When did your career in music begin? Were you trained as a musician?

CD: I started making music about 10 years ago. I’ve never had any formal training. It started when I connected with the improv / experimental music scene in the Twin Cities after completing my undergrad degree at the University of MN. I began to collaborate with people involved with the Tuesday Series which was holding weekly concerts at cafe in my neighborhood. Primarily I was just doing small percussion stuff with whatever objects I had at hand. Later I bridged into bending circuits on tape players which was kind of hip at the time. Now I almost exclusively work with tape loops.

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What inspires you to create new sounds?

Listening to everyday sounds. Sometimes simply taking a walk is enough to inspire me: church bells in the park, wind chimes on front porches, traffic. My baseboard heaters are making this great clicking sound as I write this. Both my visual and sound work are collage-based, there is so much content out there that I’d rather focus on selecting and organizing material as opposed to composing it.

Who are some composers who are influential to you?

Arvo Pärt, Henryk Górecki, Tim Hecker, Ben Frost (especially his album with Daníel Bjarnason), John Cage, John & Alice Coltrane, Miles Davis, Laurie Spiegel, Ekkehard Ehlers, C S Yeh, John Wiese, Ernst Reijseger, Harold Budd, Krzysztof Penderecki, Mica Levi, Angelo Badalamenti, Wendy Carlos, Giacinto Scelsi, Johnny Greenwood, Fennesz, La Monte Young, Fe-mail …

What is the response from the audience to your compositions?

Often curiosity. What am I hearing and why? It’s nice to elicit such responses, I find it kind of boring when musicians focus too much on portraying a certain aesthetic or identity. I try not to create work that’s veiled too much in my own ego. I think it’s important to challenge your audience, make them ask "is this music?".

Have you composed any film soundtracks?

Unfortunately no but it has often been alluded to in my work. The improv noise band I play in Squid Fist (with Bryce Beverlin II & Tim Glenn) has performed along with experimental 8mm & 16mm films but we have never purposely composed something for film. The tape collage project Visions of Christ (with John Jerry) lends itself more to scores because it’s not very interesting to watch us play. John and I have performed along with a light organ setup in the past and hope to employ more visual elements in the future like projecting found slides or pantone colors. Someone remarked that my CS release with Justin Meyers could stand in as an alternate soundtrack to Tarkovsky’s Stalker.

https://player.vimeo.com/video/5404328

Squid Fist Live at Organ Haus from brycebeverlinII on Vimeo.

Do you listen to alternative music or rock music all?

My tastes are pretty eclectic although not that obscure. I listened to a lot of classic rock growing up but have mostly left that behind, besides an occasional nostalgic trip with the Stones. Bob Dylan is maybe the most important musician in my life, rarely a day goes by without me spinning something of his. Most "rock" music that I prefer skews weird, however I hold a lot of old americana and soul in high regards. Early Staple Singes records are in heavy rotation. I’m currently obsessed with Gene Clark’s No Other and also love his records with Doug Dillard. A lot of Townes Van Zandt these days too. Besides Dylan there are some great Minnesota artists like Michael Yonkers and Spider John Koerner. In many ways I’m indebted to my good friends Clint Simonson (De Stijl Recs) and Chris Berry (Soft Abuse) for exposing me to so much gold over the years. Without them I would have not discovered Peter Jefferies, Ed Askew, Mad Nana, Michael Chapman, Bobby Charles, Charlie Tweddle, Black to Comm, King Darves, Mayo Thompson, Neil Michael Hagerty, and Steve Gunn. I was lucky enough to see Wolf Eyes play last night; they’ve always been inspirational to me. I dig their respective side projects as well: Henry Hazel Slaughter, Regression and Stare Case. They’re so wonderfully evocative of such greats like Throbbing Gristle, The Velvet Underground, and Suicide.

Which of the arts is most important in your creations?

They all play their key roles. I’m reading Leonard Shlain’s book Art & Physics: Parallel Visions in Space, Time & Light and it keeps giving me ideas for sound and visual projects. I probably expose myself the least to theatre and dance though they have both affected me profoundly in the past. Perhaps it’s a lack of exposure. I have definitely engaged with literature the most in my life and am forever blown away by people like John Berger, César Aira, Joan Didion, Susan Sontag, Denis Johnson, and Cormac McCarthy. I’m currently tackling Ta-Nehisi Coates’s memoirs and am loving them.

Will you be playing any live dates?

I recently completed a commission at the Cedar Cultural Center that was funded by the Jerome Foundation. It was a collaboration with John Jerry, Davu Seru, and Jonathan Kaiser for tape loops, percussion, and cello. Justin Meyers and I played a couple weeks ago and hope to make another recording together in the near future. I have another tape and synth project with John Marks and we self-released a CS a few months ago. I am trying to refocus my energies on visual work, getting ready to be part of a collage show at Chicago’s Lula Cafe in May and apply to grants in hopes of funding the purchase of a risograph printer. Jugging all these things has become an art form in itself.

Casey Deming Online

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