interview with FATHER OF THE FLOOD

FATHER OF THE FLOOD interview. july 2008.
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[x] please give a brief summary of Father Of The Flood's history, origins, etc.

i began "Father of the Flood" during the winter of 2005. At that time i was strictly documenting improvisational sketches of "songs" on an old cassette recorder. in July of 2007, i began performing and releasing pieces on cassette and cdr regularly.

This project was created primarily as a means of coping with the psychological assaults we are confronted with by our civilization and ourselves, whether the dangers of self-introspection or the traditions and practices we have accepted and continually participate in.

The sounds that are at the source of these pieces are collages of field recordings - completely riddled with interference from the surroundings they were created in, as well as, deep drones meant to mimic and bring awareness to the vibrations we as people and machines constantly fill the atmosphere with.

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[x] What are your thoughts on the relationship between the totality of domestication in your daily life to FOTF?

The reason why i have been working to make this project more of a public endeavor is rooted in my belief that in any of our actions we are essentially accountable for the impact of those decisions. Because of this belief, i have encountered and been the source of so much guilt that i am continuously unsure of as being (un)necessary.

Due to the chaotic nature of our everyday lives and the violent consequences of our actions - we exist in an unrelenting crisis of values. Yet, upon any instinct we can grasp escape in a tangible form that has been formulated to directly tranquilize or keep us consumed in that spectacle, whether through synthetic drugs that sometimes "find" their way into our drinking water if we haven't already sought them out for our own discretion, or simply televisions selling us insecurities and enticing our emotional being with scripted "living", all the while laying the foundation for learned behaviors in just how much attention and ultimate control we allow towards our imaginations.

i want to create pieces that allow space and encourage contemplation or self-abandonment at will, that are composed largely by actual sounds from our urban enviornments that offer the listener an opportunity for a naive ear and a more self-focused position of judgement.

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[x] Do you think that ambient/noise/soundscape/whatever you wish to call it music plays into a critique of civilization, technology, etc. knowingly or unknowingly?

It is unavoidable that much "noise/integrated sound" reflects civilization and technology. Especially with so many artists actually constructing their own synthesizers, effects, and other tools and the actual sounds born from these inventions. However, i can't say that each artist is aware of their own intention and how it compares to the structures around them, i can't even say they want to be.

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[x] I know that i am very passionate about the Warbound project, along with other endeavors that are intimately tied to the existence of civilization (such as our means of communication right now). With that in mind, and with the almost certain reality of major collapse within our lifetimes, what are your feelings on what will inherently mean a loss of your ability to create in this format and others?

i can not be certain or sworn to my desire to create musically, especially in relation to such a collapse, but i do know that i am presently faced with concerns to the inadvertant harm this project is essentially creating. You know, just more packaged goods, just more plastic. The fact that i tour and am doing so by driving a very inefficient vehicle.

i must accept the inevitable collapse and understand the forces which are fueling it. i must also be trusting and selfless in the reality of the vitality it will yield. granted, i have not also dissappeared with our common means of living - i will continue in practice of listening with a naive ear and trying to remain thoughtful of our direct impact upon things (especially when that direct impact can be implemented beneficially).
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For more information and mp3s from Father Of The Flood, you can check out the link in my "Musicians" section, although the reader should be aware that many of these compositions were meant for analog listening, and I encourage everyone to acquire the tapes that are available through Daniel's label, Featherspines.