Dude, you have put out so much music. It's refreshing in the age of sometimes over calculation in the music industry. Just for our audience, have you counted all the music you've put out and about how much is out there?
There are 105 albums at www.killick.bandcamp.com. Most have been recorded within the last few years. I love recording and sharing; it's that simple. I've learned to work very quickly and cheaply, but I'm happy with everything I'm putting out.
On the latest Crazy Hoarse album you set out to "to create sounds I'd never played before." Did you realize that goal and what was the headspace you had to get into to gesture towards that?
With the Pseudo Dirkschneider album, I feel I did achieve a uniqueness relative to my previous work. (I'm particularly taken with the central event in "Baldnado"...the lyrics and melody came to me all at once, perfectly realized.) There's a wideness and a propulsion embedded inside the textures I played, something akin to a group skate across a hidden ice lake informing the ocean. A quick mental cataloging let me scratch off the list of possibilities anything that I'd done prior, and from there, I just let the muse have ascendancy over my conditioning.
How do you feel about more and more "strange" and abstracted sounds making their way into pop music?
Perhaps they will no longer be considered strange as they become ubiquitous. I feel it's a great thing to demystify modes of communication and expression. The challenge for me and others will be how to create sounds that transcend what once was unknown and is now cliché.
Your performances can be highly ritualized at times. What connection do you see in ritual and music when it comes to your live performance?
I've heard it said that shamanistic music in antiquity was characterized by interruptions, as the spirits guiding the process had their own timeframe and agenda. Trance music per se, on the other hand, generally has a steady beat, like our heartbeats, or, in common parlance, like most of what we regard as music. I'm interested in how these approaches intersect, and take care to respect the sacred space necessary to facilitate such a complex and fluid unfolding of information. Whether an audience is in the room with me, or listening on speakers to a recording, my role is to create and complete an arc that has structural, emotional, and timbral integrity, regardless of how far it stretches away from someone's comfort zone or familiarity. There are ways to achieve a grounding to begin the excursion, and ways to achieve safe return; this is my highest priority.
There's not only a play element with sounds throughout your work, but there's a consistent play on words amongst the song and album titles. Do you enjoy words as much as you do music, at least at times, and is there a conscious effort to playfully reauthorize common phrases or names?
Yes, I love words (written and spoken) as much as "music"...if they are indeed separate. What lies beneath and beyond words texturally and contextually is endlessly inspiring. Is my wordplay the result of conscious effort? Generally not. Some of it comes from mishearing or misspeaking, and some of it comes from the twilight state between waking and sleeping.
Obviously you run in fairly avant garde music circles, but what are a few songs that you appreciate that your peers may think, "I can't believe you listen to that crap"?
I don't ascribe guilt to sounds. Today on a car trip, the spontaneous playlist included Fever Ray, a cover of Amos Moses by Primus, some Feist, some Ozzy Osbourne, Michael Jackson, and Circa Zero, a band with guitarist Andy Summers of The Police.
What direction do you want to go over the next year with music?
I hopefully will get out of the way of whatever wants to emerge!