interview by: Roberto Martinelli
Gog’s Mist From the Random More is a stunning entry into a dark genre of music that bridges noise, drone, and instrumental performance (you can read up on our article about the latest album in this issue). But what makes the album as good as the music itself is how the music sounds — richly organic and alive. It turns out Gog has put out a few records before that. Being recording enthusiasts as well, we contacted Gog main man Michael Bjella to ask about how he put this outstanding work together.
Maelstrom: At first listen, we identified Gog as fitting into the black metal canon. However, at closer inspection, it seems the music itself has little to do with that genre — it’s more the mood presented. What are your thoughts on the potential correlation between what you do and the universe of black metal?
Michael Bjella: I've never set out to make black metal, but I identify with the feeling and emotion found within black metal. I think what I do has that emotion and rawness that black metal has, and that’s where I get the comparison.
I generally love the metal aesthetic as well, I'm into all things occult, and like exploring the darker side of human imagination. It may sound cheesy, but giant beasts, end-all storms, bottomless holes, etc, all those types of things, along those lines — but something bigger and more ethereal than that, something infinite, a dark energy that never dies.
Maelstrom: You've captured that much in your work. What are your favorite artists that embody those themes?
Michael Bjella: Along those themes, I would say Corrupted and Blut Aus Nord. On the metal subject, probably way to much to list, from At the Gates to Watain. And a huge Swans fan, especially Soundtracks for the Blind. Also been really into Agalloch and the new Aluk Todolo lately.
Maelstrom: Then there's the stylistic aspect of noise. Do you enjoy any noise acts?
Michael Bjella: I like my noise musical, so maybe I wouldn't even call it noise. Birchville Cat Motel, Sunroof, Oliver Dumont, Yellow Swans, BJ Nilsen. A lot of drone as well. The Crowned Heads of Europe and William Fowler Collins.
Maelstrom: Since the rest of your work is unfamiliar to me, might you talk about what progression you have noticed in Gog's recording history?
Michael Bjella: I'm not sure of any progression — I'm actually still really proud of all my recordings — but of course the new one is always the favorite. The new album is really a mix of all the techniques I've been using on each album. I tend to go back and forth from really abstract to almost normal song structure (emphasis on almost). It’s kind of an ebb and flow.
Maelstrom: How and where were the tracks from Mist From the Random More recorded?
Michael Bjella: All of those songs were recorded differently. The title track (track 2) was recorded live on KFJC last September. I think it was something like 13 mics, two on the guitar, two on the keys / noise, and the rest on the drums. It was in a really small room dubbed "the pit"; we were surrounded by tons of vinyl. So on that track, everything was layed down at once. I took home the individual tracks and adjusted the levels on certain things, but not much could be done because all the mics where in the same room. Thats pretty much how it sounded on the air. Except for mastering.
I was traveling to Oakland to see an artist’s (Collin Stinson) installation that I was commissioned to create some Gog music for. KFJC had been playing my Noriah Mills record quite a bit, and they offered a live mic show, so I thought, what the hell, it would be a good way to promote the art show as well — even though I hadn't played live as Gog since 2004 or 2005. Kill two birds with the same stone kinda thing.
I traveled up there from Phoenix with a drummer friend (Josh from Black Hell) and payed for another friend’s bus ticket down from Norhern California (Nate of Servile Sect) and we met in San Jose a day before the radio show. I had the basic structure down. It was semi-improv and we all were so happy with the result. It went off awesome. Three players on that track, keys, guitar, and drums.
Maelstrom: Aha! So Gog isn't a one-man band. I had assumed it was from the liner notes. Mist From the Random More, after all, does sound like the kind of music that is the result of individuals feeding off of — and adjusting their performances based on — air being physically moved in an enclosed space. And so it seems it was.
Michael Bjella: The first song, "Night Zoe," is a one-man thing. Mist From the Random More is the second recording Gog has made with other players. Past the Deepest Gate also had a drummer playing with me, who also plays on Mist From the Random More. I like to keep a little mystery to it for sure, but I thought this time the liner notes were the most clear out of any release. I give everybody their props. :)
I agree with you there is a certain feeling that gets captured when all the players are connecting, even when it’s just two people. And the air was moving in there! But there is also a thing when you’re trying to share a vision with other personalities about the sound and image. I think I gain a lot from keeping that aspect out of Gog. A mix of the random and spontaneous with the control on every recording — even the ones where it is a solo performance (Noriah Mills, and Fruition of the Occult). Hard to put to words — I guess I just try and balance the two. I'd consider it a one-man operation with hired guns on certain aspects of the live recordings. Unless I can grow more arms and learn to play the drums...
Maelstrom: The quality of the recording is what makes Mist From the Random More as much as any other aspect... as does the richness of the post-production. Could you please talk about the engineering or post-production approach to this album?
Michael Bjella: That’s good to hear. It was really the post not messing with the pre. I was just trying to match the feeling and recording quality of Mist From the Random More. I talked to Utech about maybe some studio time, but then decided it would sound off and too clinical. So my vision evolved to creating a well-rounded out album. Here’s a track-by-track lowdown of the album.
"Night Zoe": Very bright soaring guitar amp tones and subtle keys. Makes me picture the sun rising. A sunrise for drug freaks. Long fade to give Mist From the Random More lots of room.
"Gasp in a Fifty Pound Claw": dirty! really dirty. And heavy as fuck. Something at the end that creeps in bright, tying in with "Night Zoe" and "Mist From the Random More". Brings back the sense of unease to the album that I was trying to create during "Night Zoe."
I didn't forget the concepts to these tracks and the album throughout post-production and didn't want anything to sound out of place. I think what I'm getting at is that with postproduction I didn't get entrenched trying to make it something it is not... that is when people can veer wrong in my opinion.
Maelstrom: Please talk about how you implement the layer of generally-present noise on Mist From the Random More.
Michael Bjella: That layer of noise or sounds I think I use to add texture or thickness to the sound. I'm not sure why I like it so much, but its always an instrument or sound being pushed to its limits. Kind of changing what it was meant to be and giving it a whole new meaning.
One of my favorite visual artists, Basquiat, said he would cross out the words or obscure parts of his paintings to make them more interesting, I think that works in sound as well. A lot of the noise comes from the layering of guitar with loop pedals and delay pedals, you can keep over-dubbing rhythms and sounds.
Maelstrom: Please let us know what some of your favorite weapons in your arsenal are.
Michael Bjella: I have Sunn100S head (I love that thing, it’s a monster) and an Ampeg 8x10 bass cab. I also run an Ampeg B4 solid state and 2x15 Sunn cab. Unfortunately, the Sunn 2x15 is broken right now :(
I use a Blue Beard distortion pedal with a Line 6 Delay stomp box and a 2880 Elctro Harmonix looper. On Mist From the Random More, I borrowed my friend’s guitar, an Orville Les Paul.
Maelstrom: What was Mist From the Random More mixed on? How was it mastered? It seems the question to ask is what you didn't do, rather than what you did...
Michael Bjella: It was mixed in Logic Express by me and mastered by James Plotkin. I didn't want to overlay any guitars on Mist From the Random More because I thought it would mess with the live feeling. I also didn't edit out all the voices of us waiting in there before we went live on the radio, I kept all the clicks and bumps and merged them with the songs preceding and following.
Maelstrom: Mist From the Random More was released by Utech Records. I’m pretty sure they found us because of our promotion of Aluk Todolo’s first album.
Michael Bjella: Awesome! I love that album too, but Finsternis is even better! Well, I'm stoked that you are finding out about Gog and Utech! Utech has been releasing awesome underground music for more than five years now. He's been building quite a well-deserved buzz about his label. When I saw his releases and artists, I was immediately impressed. I've been listening to all his latest releases a ton lately. I was honored to work with him on this CD.
Maelstrom: Please tell us about your label, and how that coincides with Gog.
Michael Bjella: Gog is a project of mine that started producing recordings around 2004. Gog and Sounds of Battle and Souvenir Collecting (www.sobasc.com) sort of go hand-in-hand. First, they are both me. Second, I was looking for a way to work with other like-minded musicians and artists, as well as a moniker to release some of my own and other's music through. I also am a visual artist and a designer so I needed a way to keep creative in that department as well other than work.
The first three Gog CDs, Past the Deepest Gate, Noriah Mills, and The Fruition of the Occult (split with Apparitia) I released myself. I wouldn't mark SOBASC as a vanity label, because I've worked with The Crowned Heads of Europe, Servile Sect and Apparitia, and I have a some more releases with other artists planned in the future.
Maelstrom: Nice. I see all the Gogs are out of print. Too bad, I was going to ask to buy them. How many did you make (and a nice feeling it must be that you sold out.... regardless of the print run) and is there any intention to re-print them? Considering the renown you'll be getting via Aquarius (at least), it might behoove you...
Michael Bjella: The aQ thing was a total honor and a surprise. I totally love that shop. I know maybe I should put a couple back in circulation. Very low numbers, but I'm don't make music in pudding pops bulk for the jello-brained masses. Noriah Mills has been through something like 300 CDs; Past the Deepest Gate about 200; Fruition of the Occult, I know for sure 100 (those were unique in that they were silk-screened on .125" thick aluminum covers — real expensive, but really cool.) Aquarius actually sold 40 for me. The shipping was a bitch!
I've been talking to a guy about possibly releasing a cassette of that. The others are really unlimited; I just need to put the money to re-release them. I found that a lot of people pirate my stuff. That kills the investment attitude in me. I do pay to have those albums hosted on iTunes and eMusic, so people can get them there too. It is a great to have your music heard for sure.
Maelstrom: Can you talk about the theme of women in your titles? You've got Noriah Mills and (Night) Zoe...
Michael Bjella: Noriah, or noria, is a waterwheel-type of machine that is powered by a stream or river. That song to me is about a building storm that keeps building and building upon itself and its own energy, and a waterwheel turning and milling the storm at the same time. I guess the name is like how they name hurricanes. The artwork on the album uses a picture of a noria. Not this one but one like it.
