P. Emerson Williams Interview
Chorozon Interview
Posté par simon
19 février, 2009 P. Emerson Williams (or 333 as I call him). Musician, artist, illustrator, web mogul, chaos magick practitioner. Since the late 1980’s P. Emerson Williams has been making his mark in a world that is not often seen by the mainstream media. But through his incredible work ethic and vast amount of creative energies, as well as a knowledge of how to tap into the powers of the web, he is now able to reach across to his fans in a multi-medium fashion that has only become possible since the turn of the century. And just when the world catches up with him, he takes another quantum leap forward - as he did in 2005 with the multimedia work “Panic Pandemic”, and promises to do again this year with new releases including the newest Choronzon recording “Controlled Substance”. Perhaps the best way to describe 333 is like a Whirling Dervish - of the Sufi Order… Both in the constant movement and spinning (in great productivity), but also as a man on a mystical journey.
TheeBradMiller: You have been recording your brand of musick for over 20 years. I suppose one could say that you were berthed out of the Black Metal scene of the late 1980’s. Was that a scene you identified with in the beginning?
333: Well, I was listening to a bit of primordial Black Metal at the time I started out, but what I did on the first two tapes and corresponding events really had little to nothing to do with Black Metal. I can’t really say there ever has been a scene per se that I would say I could identify with. Obviously, a Bathory and Celtic Frost influence crept in at some point and I did find that the early Norwegian bands along with the Greek bands were tapping into a current that I still wonder if they knew what that current was, or even if they knew they were drawing on something not quite of this universe. That aspect disappeared as soon as the world found out about them in any case, following the events that have come to identify the genre in most peoples minds ever since.
TBM: While many of Choronzon distributors categorize you as Black Metal (they have to call you something), it seems that you are moving away from the standard trappings Black Metal fair… in fact, as I go through your catalog I noticed that this becomes particularly noticeable with “Psychosis Ex Machina”. Was this intentional?
333: I don’t think “Psychosis Ex Machina” would have happened without my having done Veil Of Thorns‘ “Birthed” right before it. “Magog Agog” was my first all digital recording, but I had used a lot of looping using primitive processes of splicing tape into loops or using a reacjmount digital delay and creative use of analog delay. If you compare “Magog Agog”, “Era Vulgaris” and “Larvae” which were all recorded using the same equipment and set-up, you find that experiments as they exist on those recordings are in the playing, not the arrangements.
On “Psychosis” I was manipulating the source sounds...(More at emofag.net)
Posté par simon
19 février, 2009 P. Emerson Williams (or 333 as I call him). Musician, artist, illustrator, web mogul, chaos magick practitioner. Since the late 1980’s P. Emerson Williams has been making his mark in a world that is not often seen by the mainstream media. But through his incredible work ethic and vast amount of creative energies, as well as a knowledge of how to tap into the powers of the web, he is now able to reach across to his fans in a multi-medium fashion that has only become possible since the turn of the century. And just when the world catches up with him, he takes another quantum leap forward - as he did in 2005 with the multimedia work “Panic Pandemic”, and promises to do again this year with new releases including the newest Choronzon recording “Controlled Substance”. Perhaps the best way to describe 333 is like a Whirling Dervish - of the Sufi Order… Both in the constant movement and spinning (in great productivity), but also as a man on a mystical journey.
TheeBradMiller: You have been recording your brand of musick for over 20 years. I suppose one could say that you were berthed out of the Black Metal scene of the late 1980’s. Was that a scene you identified with in the beginning?
333: Well, I was listening to a bit of primordial Black Metal at the time I started out, but what I did on the first two tapes and corresponding events really had little to nothing to do with Black Metal. I can’t really say there ever has been a scene per se that I would say I could identify with. Obviously, a Bathory and Celtic Frost influence crept in at some point and I did find that the early Norwegian bands along with the Greek bands were tapping into a current that I still wonder if they knew what that current was, or even if they knew they were drawing on something not quite of this universe. That aspect disappeared as soon as the world found out about them in any case, following the events that have come to identify the genre in most peoples minds ever since.
TBM: While many of Choronzon distributors categorize you as Black Metal (they have to call you something), it seems that you are moving away from the standard trappings Black Metal fair… in fact, as I go through your catalog I noticed that this becomes particularly noticeable with “Psychosis Ex Machina”. Was this intentional?
333: I don’t think “Psychosis Ex Machina” would have happened without my having done Veil Of Thorns‘ “Birthed” right before it. “Magog Agog” was my first all digital recording, but I had used a lot of looping using primitive processes of splicing tape into loops or using a reacjmount digital delay and creative use of analog delay. If you compare “Magog Agog”, “Era Vulgaris” and “Larvae” which were all recorded using the same equipment and set-up, you find that experiments as they exist on those recordings are in the playing, not the arrangements.
On “Psychosis” I was manipulating the source sounds...(More at emofag.net)