With the duo releasing its latest album with Metropolis Records, Fade Kainer speaks about the creative processes that define the music and visual style of Statiqbloom.
An InterView with Fade Kainer of Statiqbloom
By Ilker Yücel (Ilker81x)
To get the boring question out of the way, would you please give us a brief history of Statiqbloom, how the band got started and what has led you to now?
The new album is coming just less than a year from the Infinite Spectre EP; in what ways would you say that Asphyxia is a progression – thematically, musically, emotionally, etc. – from that EP? What sort of recurring lyrical themes do you feel are present in your music, especially on the new album?
Kainer: Asphyxia is a more visceral album, a bit more stripped down and raw. The lyrics deal with personal psychedelic tribulations and observational reactions – I’d rather people take away what they want from them. I don’t like to further explain myself. The lyrics are for the listener to read and interpret.
On Asphyxia, you worked with Chicago musician/producer Sanford Parker; how did you first come to associate with him, and how would you say his contributions as a producer and mixer strengthened the sound of Statiqbloom? In what ways did working with him alter or affect your own working methods up to now?
The album’s second track, ‘Until Oblivion’ was mixed by Dave ‘Rave’ Ogilvie; similarly, how did you come to work with him, and why this single track? As a veritable legend in industrial, electronic, and experimental music, tell us about the experience of working with him?
Kainer: I’m a huge of his work; a lot of the records he’s made have had a huge impact on my life. I’ve always wanted to work with him in some capacity. I was given his contact and I reached out to him to see if he would like to mix a song on this album and he was totally into it. We’ve never met in person; he lives in Vancouver. I hope in the future we can meet and possibly work one on one.
Nostalgia seems to be the order of the day as older, more experimental forms of industrial, post-punk, and synthwave seem to have taken prominence. From your observations, what would you attribute this to, and in what ways do you feel it applies to Statiqbloom (if at all)?
Statiqbloom also took part in the Days of Darkness festival, which placed several industrial bands (like you, Die Krupps, and Front Line Assembly) alongside several metal and hard rock bands. What are your thoughts on the breakdown of genres in modern music? Is the metal scene as open to the newer, darker sounds of industrial and experimental electronics as it seems?
Kainer: Yeah, sure. We share the stage with everything from black metal bands to queer electro acts. Why would you want to see three bands that all sound the same at a show? That’s boring. I like mixed genre events.
You’ve taken part in several ColdWaves events as well. What are your thoughts on ColdWaves now versus when you were first asked to take part in it? What makes it stand out in your mind versus other festival events you’ve participated in?
Kainer: ColdWaves is a great festival. There are not a lot of festivals in the U.S. compared to Europe, so it’s cool that there are a few quality ones in the States; ColdWaves is one of them. Their lineups are cool in that they have legendary acts play with newer up-and-coming acts, which keeps it interesting.
Once again, you worked with photographer Katrin Albert. How do you feel her photographic eye captures the visual essence of Statiqbloom; in what ways do her visuals complement the music?
Kainer: Katrin is a very talented artist – whether it’s photography or video, she knows how to capture special moments and capture specific moods. She is very good at editing to emphasize the atmospheric elements of the music because a lot of her work is very dreamlike and otherworldly.
You recently toured as the support act for Mortiis on his ‘Era 1’ North American tour, and you have been playing in Europe and South America during summer. The Statiqbloom live shows that I’ve seen really seem to emphasize power through minimalism – not a lot of props or dressing, relying more on the lighting and the intensity of your onstage performance; what is the band’s mindset behind this?
Kainer: Actually, we do use a lot of projections and lighting; given the opportunity to do larger scale things, we will – that includes visual production. But we don’t rely on the lightning and visuals but use it to enhance our performance.
Photography by Katrin Albert, courtesy of Katrin Albert Photography
Live photography by Tabetha Patton (MizTabby)