Kendimizi kimseye yakın görmüyoruz. Yakın gördüklerimizin de kimseye bir faydası olmuyor, ya da işi bitene kadar herkese iyi görünüp sonra yok olup gidiyorlar.
Rap yapmaya ne zaman başladınız? Şu ana kadar ne tip çalışmalar yaptınız?
YAKU: Yaklaşık 8-9 yıldır müzikle uğraşıyorum. Aynı şekilde Jah’ı da uzun zamandır tanıyorum, liseden beri arkadaşız. Amatör kayıtlar harici yayınladığımız çalışmalar east coast/sac town beatleri üzerineydi. Bu çalışmalardan öncesinde necrotrap, operplugg, hoodtrap gibi genre’lerle uğraşıyordum. Jah da amatör olarak detroit, trap vb. çalışmalarda yer aldı.
Kreuzberg’de başlayan Türkçe Rap macerasına daha çok Kadıköy’den çıkan mc’lerle aşina olduk; 90’ların sonu ve 2000’lerin başında Ceza, Dr. Fuchs, sonrasında gelen Sansar Salvo gibi isimler o dönem için ciddi ataklarda bulundu ve Türkçe Rap adına önemli bir dinleyici kitlesi yarattılar. O günlerin bazı iddialı rapçilerini artık sahnede göremesek de Istanbul Trip, Tahribat’ı İsyan gibi bu işle uğraşan pek çok yeni genç sahneye çıktı. Bazılarına Arabesk Rap dendi, Heijan gibi amatör girişimler bile zamanla ilginç sonuçlar verdi; nihayetinde Canbay, Wolker, Uzi ve benzeri gençlerin Bağcılar, Ulus, Esenyurt gibi bölgelerden farklı bir nefesle işe koyulduklarını gördük.
Gecenin dostları: Can Yavuzçetin, Kadir Ceylan, Jah ve Sena, Taksim 2025
Jah 342 ‘Stay High’
Jah, Can Yavuzçetin, Kadir Ceylan ve Sena, Taksim 2025
Tüm bunları göz önünde tutarsak, sen kendini sürecin neresinde görüyorsun?
Sürece baktığımızda Kendimizi kimseye yakın görmüyoruz. Yakın gördüklerimizin de kimseye bir faydası olmuyor, ya da işi bitene kadar herkese iyi görünüp sonra yok olup gidiyorlar. Bireysel olarak ben daha geyik işler peşindeyim ama Jah’ı daha ciddi işlerde görebilirsiniz.
Bağcılar Ganistan albümünü Türkçe Rap özelinde hangi ekole daha yakın görüyorsunuz?
Türkçe Rap ekolünde çok fazla verilecek örnek yok. En yakını şudur diyecek olursam da çok alakasız olur. İçerisinde bu kadar çeşitli genre’lar bulunduran bir albüm veya mixtape’i ben görmedim. Dünya genelinde ise cloud rap ve bay area dersek tüm şarkıları tek bir çatı altında toplayabiliriz herhalde.
Albüm için kimlerle birlikte nasıl bir çalışma sürecine giriştin, sonuçtan memnun musunuz?
Albümde sadece ben ve Yaku var. Bunlar haricinde prodüktör olarak yine Yaku ve arkadaşları bulunmakta. Sonuçtan da oldukça memnunuz.
Canlı sahne almayı düşünüyor musunuz?
Ben sahne almayı düşünmüyorum, Jah ise şimdilik kararsız ama sanırım yakında alırız.
Yakın dönem planlarınız varsa öğrenebilir miyiz?
Bu röportaj albümden ne kadar önce veya sonra çıkar bilmiyorum. Siz daha önce yayımlarsanız albüm sonra çıkarsa tekli işler yakında diyebiliriz.
Maybe we are still living in that trance in which we do not want to see what it is in front of our eyes, opting to live a life of ignorance and blindness under the protection of the few neon lights bulbs glowing from our smartphone. Ilaria Novelli is one of those few and outstanding artists that dare to turn off the illusion and tune in the now.
Ilaria “Ila Pop” Novelli is an Italian multi-disciplinary artist; she uses different media, from oil painting to digital techniques to create a dollesque and disturbing universe. In the line of those visions developed by those hidden creators such as the late Henry Darger or Stu Mead, Novelli unfolds to us a colorful world inhabited by willowy and doe-eyed figures who exchange roles from victim to perpetrator in a constant play that inspires on classical and modern art compositions. Ilaria is aware the world we live immersed in: an ever-lasting sense of screened future, full of information and constant visual stimulus. Many of the characters of her pieces represent the delirious extreme of such premises. Songs’ lyrics and heroes/villains from underground literature and cinema play an important role as inspiration too. Through Ilaria Novelli’s art is an ongoing project generating a private mythology and language, for some dark and magical reason it become universal, forcing the viewers to develop a critical analysis of the cultural and social values that the modern human condition is offering to the new and old generations.
Ila Pop, 2020
“I consider eroticism allegorical and symbolic, it leads to our nature both in a human and in an eternal/ethereal form, my take on the erotic element is always innocent and spontaneous rather than sexualized and uninhibited. Eroticism and obsession in art are always metaphors, they are part of an intimate and private mythology. I should write an excruciatingly long list of my major influences: I took inspiration mostly from writers and film directors.” -Ila Pop
Maybe we are still living in that trance in which we do not want to see what it is in front of our eyes, opting to live a life of ignorance and blindness under the protection of the few neon lights bulbs glowing from our smartphone. Ilaria Novelli is one of those few and outstanding artists that dare to turn off the illusion and tune in the now.
What else does it offer to the azymous wafer o’ an Austin hermit and his pentecostal portent with the viscounts on the spot who jesuitically herald the invalid light or soot, maybe Lilith and Cain ‘s gooch a seed will reign the Juidcium crusis for a wretched in jaundice the malice o’ an apprentice with the last words in his deathbed?
Burak Bayülgen ile “Destination Fear: Trail to Terror” filmi üzerinden “Mimari Yapılarda Paranormal Fenomenler” anlatımı.
ARCANA
Burak Bayülgen
Above mountains a dynasty battles with the icons’ faulty solar, icy thorned Awrystli where arcana has befallen.
The ebony o’ sheet pendants seizes uneath eased triumphs before bigot goat disciples among distinct oaths’ beguilements which descent the signs blatant: Ra’s genesis – torn factitious spake a grim temper heinous amid the snow – pure ametist when arcana has befallen.
Bostancı Underground (2024)
YE’R MAKER’S GUTTER
Burak Bayülgen
This is the womb Ye’re supposed to be born while ye’r maker’s gutter has chosen a cloister But the fancy reverie cloaked by the ancestry o’ mercyful oaths that demand pungent deeds such as the argent thoughts conquered the urgent needs o’ infernal temptations soothed by frank regressions demised with the suspicions o’ a maker well informed.
Burak Bayülgen Ph.D at Cinema and Media Research at Bahçeşehir University
“…böyle bir şeyin tanığı olmak, yeni doğan bir çocuğun doğumuna tanık olmak gibi. Ne olabileceğini ve ne hissedilebileceğini daha önceden kestiremediğiniz bu müziğin yapılma anında bilmeniz gereken o müziğin büyük bir parçası olduğunuzdur.”
Bizlere biraz serbest doğaçlamadan bahseder misin? Son zamanlarda bu alanda birçok etkinlik ve dinleti düzenleniyor, müzisyenleri böylesi bir arayışa ve iletişime yönlendiren sence nedir?
Özgür doğaçlama’dan bahsetmeden önce aslında doğaçlamanın en saf haline bir dokunmamız lazım. Nasıl bir düşünce ve hisle doğdu. Çok çeşitli üsluplar var, hemen hemen hepsi de coğrafi bölgelerle bağlantılı ve ayrı havalarıyla tanınırlar. Eski dönem kayıtlarını incelediğimde bunun en başta kendini ifade etmenin en saf biçimi olduğunu görüyorum. Besteci veya müzisyen kavramlarının daha oluşmadığı bu evrende nasıl doğdu doğaçlama, bunu en iyi anlama biçimi benim içimde doğma biçimi. Ruhu serbest bırakmak. Her doğaçlamanın farklı bir üslubu, değişik bir tınısı var, yapmamız gereken, normalde yaptığımız gibi o tınıya kendimizi vermek olmalı ve an içinde ritmin veya notaların bilinen olmasının bir önemi yok, önemsenmesi gereken ruhunun yeni olduğunu bilmek. Bu doğaçlamayı algılamakta sürekli gelişmenin ve değişmenin bir adımı.
This music is Free Improvisation. Recording at Balyoz Music and Production in Istanbul, 2016
“Dolayısıyla özgür doğaçlama, her türlü kalıbı reddererek yerine insanın özünde yatan öğrenilmemiş hissi ortaya çıkarıyor.”
Özgür doğaçlama, klasik batı müziğinin temel öğeleri olan armoni, melodi ve ritmin kullanımını reddeden bir forma sahip. Bu öğelerden ayrıştığında öne çıkan müzikal dokular oluyor. Örneğin; notalar dışında enstrumanların sınırlarını zorlayarak, keşfedilmiş yeni seslerin kullanılması. Bu enstruman insan sesi de olabilir. Serbest doğaçlama kendi kuralları içerisinde sınırsız olan ve arada da türsel doğaçlamalara izin veren bir yapıya sahip. Sınırlarının olma sebebi ise doğuşundan geliyor. Müziği öğrenmenin ve anlamanın özünde enstrumana dokunmak, o enstrumanı tanımak ve o enstrumanı çalmak yatıyor. Dolayısıyla özgür doğaçlama, her türlü kalıbı reddererek yerine insanın özünde yatan öğrenilmemiş hissi ortaya çıkarıyor. Yapılan müziğin bir tekrarı yoktur ve yapılan şey anlık bestedir. Dolayısıyla böyle bir şeyin tanığı olmak, yeni doğan bir çocuğun doğumuna tanık olmak gibi. Ne olabileceğini ve ne hissedilebileceğini daha önceden kestiremediğiniz bu müziğin yapılma anında bilmeniz gereken o müziğin büyük bir parçası olduğunuzdur.
MUTRİB ‘Düzenbaz’ 2021
“Hepsiyle ayrı ayrı müzik yapmak beni besliyor ve monotonluktan çıkarıyor. Dolayısıyla bu farklı müzik tarzlarında yer almam uzun süre daha devam edeceğe benziyor.”
Çoğumuz seni Mutrib grubu ile tanıdık fakat birçok farklı projede yer alıyor, farklı müzisyenlerle değişik işler yapıyorsun; senin açından hangisi daha doyurucu?
Aslında en çok zevk aldığım doğaçlama topluluklarında yer almak; kendi adıma oluşturduğum solo projem olan “Birds String Quartet” ve “Birds Ensemble”,“Islak Köpek”,“Taranta Babu” veya daha önce karşılaşmadığım veya dinleme fırsatımın dahi olmadığı farklı tarzlarda müzik yapan müzisyenlerle keyfi doğaçlama seansları çok hoşuma gidiyor. Yeni bir yüzle karşılaşmak, yeni bir müzik ve yeni bir ruh ile bir olmak, bütün olmaya çalışmak benim için çok keyifli. En son Peter Brötzmann ve Joe McPhee ile bir prova yapma şansım oldu ve unutamayacağım bir gün olarak hayatıma kazındı diyebilirim. Mutrib raflarda beklemeye devam ediyor hala ve üzerinde düşünmeye devam ediyorum. Vokal yaptığım ve müziğin beyni olmaya devam ettiğim bir başka grup dolayısıyla burda başka bir şey deneyimliyorum ve açıkcası hala vokal olarak nasıl bir yeri kapladığımı bilmiyorum. Çıkardığımız son işlerimizden memnunum fakat artık yeni birşey yapmanın zamanı geldi gibi hissediyorum.
Bunların dışında hayatıma yeni bir ruh olarak dahil olan Halil Sezai ile çalışmaya başladık. Şimdiye kadar iki konser yaptık birlikte ve bu konserlerin ikisinde de doğaçlama çaldım. Bu anlamda Sezai ve ekibi beni oldukça rahat bırakıyor ve sahne de onların kurguladığı müziğe yeni bişiler eklemek beni mutlu ediyor. Son olarak da Melis Danişmend ve Miss Crowley var. Bu iki proje de yine yaptığım tüm projelerden farklı, özgün ve duygusal bir yapıya sahip. Açıkcası içinde olduğum tüm oluşumlar, projeler ruhumdan bir parça taşıyor. Hepsiyle ayrı ayrı müzik yapmak beni besliyor ve monotonluktan çıkarıyor. Dolayısıyla bu farklı müzik tarzlarında yer almam uzun süre daha devam edeceğe benziyor.
Miss Crowley ve Gülşah Erol (2016)
“Zenginlik dediğin nedir? Müzik aslında ne? Bir gün içinde neler yapılır. Toprağın ve doğanın hayatımızdaki yeri. Vahşi yaşamın içinde insanın yeri vs… Yani acayip bir dünya orası ve çok gerçek.”
Müziğin ruhuna inanan birisin, Afrika müzikleri gibi yerel müzikler hakkında neler düşünüyorsun? Müzik-ritüel, dans senin için ne ölçüde önemli, günümüzde bunlar ne ölçüde yaşanıyor?
Afrika’ya gitmeyi çok istiyorum ve oranın yerli kabileleriyle doğaçlamayı deneyimlemek büyük bir heyecan benim için. Çünkü her doğaçlama bir süre sonra bir transa sokuyor ve orada yaşayacağım bu trans halinin bana neler hissettireceği benim için mühim. Dinlediğim kadarıyla hissettiğim; bizim bugüne kadar kendi hayatlarımızda deneyimlediğimiz çoğu şeyin dışında daha doğal bir yaşam biçimi. Yaşam biçimi diyorum çünkü bunların bir ritüel olması bu anlama geliyor. Belirli zamanlarda yapılan törenlerdeki müzikler ve danslar dünya’ya, evrene, tabiat anaya, kendilerine, tanrılarına bir hediye gibi. Sahip oldukları herşeye duydukları bir minnet borcu gibi. Bunun içinde olabilmek mutlaka insan ruhuna özellikle bizim gibi şehirde yaşayan insanlara önemli bir takım bakış açıları sunuyor olmalı. Bunu oraya gittikten sonra tekrar sor bana. Fakat onları uzaktan da olsa hissedebildiğimi biliyorum. Bir kere içinde bulundukları fakirliğe rağmen hayatı müzik ve dansla besliyor olmaları ve enerjilerini bu yönde kullanıyor olmaları başlı başına şehir hayatının koşuşturmasına kendini kaptırmış bir çok insan için ilginç bir örnek. Çok fazla ders çıkarılır burdan. Zenginlik dediğin nedir? Müzik aslında ne? Bir gün içinde neler yapılır. Toprağın ve doğanın hayatımızdaki yeri. Vahşi yaşamın içinde insanın yeri vs… Yani acayip bir dünya orası ve çok gerçek.
Cello: Gülşah Erol, Saxophone: Korhan Futacı, Video by Osman Nuri İyem, İstanbul 2015
“Popüler olduğumu düşünmüyorum ama bilen, bilmek isteyen ve bana inananların çoğalıyor olması beni çok mutlu ediyor ve daha farklı, güzel, yeni şeyler yapmam için beni motive ediyor.“
Çello popüler bir müzik enstrumanı değil, fakat sen bir şekilde popülerliği yakaladın, bunu neye bağlıyorsun?
Çok çalışmış olmak ve sanırım zaman içinde kendimi en iyi ifade edebileceğim şeylere doğru akmayı başarabiliyor olmam. Çok insan seven ve çok paylaşmayı seven biriyim ben. Dostluk, arkadaşlık hayatımda çok büyük bir önem taşıyor ve içinde olduğum her projenin devamlılığı bununla eş değer. Kişilerle devamlı olarak bir hayatı paylaşmıyor olsam da çok kutsal bir şeyi paylaşıyor oluyorum: Müzik. Dolayısıyla iletişimin güzel olduğu yerde güzel müzik ve aşk arkasından geliyor. Müziğe aşığım, enstrumanıma aşığım. Ve beni çeken, çağıran, yakalayan güzel şeylerin içinde olmak ve niyetlerin iyi olmasının bir sebebi bu. Ben popüler olduğumu düşünmüyorum ama bilen, bilmek isteyen ve bana inananların çoğalıyor olması beni çok mutlu ediyor ve daha farklı, güzel, yeni şeyler yapmam için beni motive ediyor.
Gülşah Erol & Peter Brötzmann (2019)
Gülşah Erol ile Geçmişten Günümüze Çello | Gündem Sanat 2020
“Bir müzisyen olarak canım ne istiyorsa yapıyorum; bu da benim yaşam biçimim.”
İyi ki ellerimden tutanlar var, benim de kalbim hep onlarla açıkcası. Bazen gelen mesajlarda, sürekli farklı şeyler yapıyor olmamdan dolayı kafalarının karıştığını görüyorum, sonuçta beni izleyen, takip eden insanlar ilk dinledikleri üzerinden benimle bağlantı kuruyorlar, fakat ben devamlı olarak başka bir şeyle belirmeyi çok seviyorum sırf bu nedenle bir çok insan “yahu napıyor bu, bu ne şimdi?!” diyebiliyor ama bunun yanında duruma alışmış ve “bakalım şimdi ne yapacak!” diyen insanlar da var. Benimle yeni bir maceraya sürükleniyor ve izliyor; takdir ediyor veya etmiyor, yaşıyoruz, akıyoruz işte. Bir müzisyen olarak canım ne istiyorsa yapıyorum. Bu da benim yaşam biçimim.
Coşkun Karademir ve Gülşah Erol’dan ‘Zahid Bizi Tan Eyleme’ (2018)
Müzik piyasası hakkında neler söylemek istersin; seni rahatsız eden koşullar var mı?
Artık hiçbirşey rahatsız etmiyor. Herkes nasıl yaşamak istiyorsa, ne yapmak istiyorsa ve niyeti neyse onu elde ediyor bence. İyi kötü. Beni tek rahatsız eden Türkiye’deki müzisyenlerin ve dinleyicilerin farklı şeyleri deneyimlemek konusunda çekimser ve inkar edici olması. Çok garip ön yargılar var müziğe. Kişi dinleyemeyeceği veya çalamayacağı bir müzik duyduğunda “berbat bu ya!” diyip kenara çekiliyor. Müzik böyle yargılarla yıpratılıyor. Tabi herkes ne dinlemek istiyorsa dinlesin, çalsın vs… emeğe saygı günümüzde büyük önem teşkil ediyor çünkü kimsenin kimseye sevgiyi bıraktım, saygısı bile kalmadı. Bencil bir düzen içinde yaşıyoruz ve bunun yerine bir bütünlük arıyorsak bütün olabilmeyi ve kabul edebilmeyi öğrenmemiz gerekiyor.
Gülşah Erol, 2024
Açın Pencerelerinizi
Hayatı yaşamak sadece istediklerimizi gerçekleştirmek ve istediklerimize sahip olmak değil. Ben merkezli bir yaşamı reddediyorum, kardeşlik, dostluk ve aile kavramlarını aşırı önemsiyorum. Yardımlaşmayı, sevgi paylaşımını, saygıyla yaşayabilmeyi ve değer yargılarımızla niyetlerimizin iyi olmasını dilediğim bir dönemdeyim. Ve tabi ki bu dünya’da sadece biz yaşamıyoruz! Yaşayan her canlıyla iletişimde olabilmek ve onları görmezden gelmediğimiz günlerimiz daha çok olsun.
Bir arkadaşım aç kalbinin pencerisini demişti bana.
“Yirmi beş yıl önce çizdiğim çizgi romanlar hala yeni baskılarını yapabiliyor. Bu sevindirici, kahramanları yaşatır hale getiriyor. Yeni de çiziyorum; Üzeyir çizgi romanı yaptım; yirmi sayfa tam macera. Bu bir fasikül olacak. Macerayı Seven Adam için de fasikül düşünüyorum. M.S.A ve Kunteper’in figürlerini ürettik. Üzeyir’in de fasikülün ardından bir figürü hazırlanacak.”
Cengiz Üstün’ün 1990 yılında keyfi olarak çizdiği Kunteper Canavarı tiplemesi uzun yıllar hiçbir mizah dergisi bünyesine kabul edilmedi, ta ki 1996 yılında çıkan aylık L-Manyak’a kadar… Bu dergiyle popülarite yakalayan tipleme, 2000’de çıkmaya başlayan Lombak dergisinde de hayatına devam etti. Üstün, aynı zamanlarda yine Lombak dergisinde başladığı karikatür köşesi Tribal Enfeksiyon’da da farklı bir mizah algısı geliştirdi. Tribal Enfeksiyon’nun karikatürden ziyade 50’li ve 60’lı yılların çizgi roman sayfalarından fırlamış gibi görünen, anatomiğe yakın çizimlerinin alışılmış geleneksel çizgisine; alışılmışın dışında diyaloglar ve konuşma balonları ekleyerek doğan tezattan yeni bir mizahi algı çıkarmayı başardı. Mimar Sinan Güzel Sanatlar Üniversitesi Grafik Tasarımı bölümü mezunu olan Cengiz Üstün halen Uykusuz dergisinde çizmekte ve bu yeni alanda üretimine devam etmektedir.
Cengiz Üstün’den Üzeyir’in ortaya çıkış serüveni.
Nft bekleniyor karikatüristlerden, bu oluyor, olacak ama uzun çizgi roman da ayakta kalmalı diye düşünüyorum. Bireysel bir çizgi roman üretmek günümüzde çok zorlaştı. Belki ekipler oluşacak bu şekilde çalışmalar yürütülecek.
Şu sıralar ‘Üstün Bradırs’ serisini yapıyoruz haftalık ‘Uykusuz Dergisi’nde. Çocukluğumuzdan beri biriktirdiğimiz anıları yazıp çiziyoruz. Dönemler ve İstanbul fonu eşliğinde lezzetli bir iş çıkarıyoruz biraderle.
Bomba, Üzeyir şeklinde geliyor!
Cengiz Üstün ‘Kunteper Canavarı’ Figür (2021)
Cengiz Üstün ‘Kunteper Canavarı’ figürünü ve tasarım sürecini anlatıyor. (2021)
“The comics I drew 25 years ago are still making new editions. This is pleasing, it keeps the heroes alive. I am also drawing new ones; I made a comic book about Üzeyir; 20 pages of full adventure. This will be a fascicle. I am also thinking of a fascicle for the Man Who Loves Adventure. We produced figures of M.S.A and Kunteper. A figure of Üzeyir will be prepared after the fascicle.”
The Kunteper Monster character, which Cengiz Üstün drew arbitrarily in 1990, was not accepted by any humor magazine for many years, until the monthly L-Manyak was published in 1996… The character, which gained popularity with this magazine, continued its life in Lombak magazine, which started to be published in 2000. Around the same time, Üstün developed a different perception of humor in Tribal Enfeksiyon, the cartoon column he started in Lombak magazine. He succeeded in creating a new humorous perception out of the contrast that arose by adding unorthodox dialogues and speech bubbles to the conventional traditional line of Tribal Enfeksiyon’s drawings close to the anatomy, which look like something out of the comic book pages of the 50s and 60s rather than caricatures. Cengiz Üstün, who graduated from Mimar Sinan Fine Arts University Graphic Design Department, still draws for Uykusuz magazine and continues his production in this new field.
“Bu sergiyle birlikte eserlerin Nft versiyonları da satışa sunulacak; Nft galerisinde sergide olmayan parçaları da görebilecekler. Kim bilir belki Nft’sini alana orijinalini ben hediye edeceğim; böylece koleksiyonerler hem orijinaline ve hem de Nft versiyona sahip olabilecekler. Dijitaldeki telif hakları için güzel bir gelişme.”
Cengiz Üstün ve Kerem Topuz, Yeşilçam’ın pek bilinmeyen “öteki” dünyasını kendi çizgileriyle yeniden yorumladılar. Sadık izleyici kitlesine sahip kült filmlerden geriye sadece posterleri ve lobi kartları kalmış kayıp filmlere, bir avuç insanın ilgi duyduğu az bilinen filmlerden bir dönem neredeyse her gün televizyonlarda gösterilmiş ezbere bilinen filmlere kadar birçok Yeşilçam fantastiği, sanatçıların eserlerinde yeniden hayat buldu.
Sinema tarihinin yıllık üretim açısından altın yıllarını yaşadığı 1960’ların sonundan 1980’lerin başına kadarki dönem, birçok tür sineması örneğine ev sahipliği yapar. Sergiye ilham olan dönem incelendiğinde, tek tük korku denemeleri, bilim kurgu çatısı altında değerlendirilebilecek parodiler, çizgi roman uyarlamaları, masallardan, seriyallerden, mitlerden ve fantastik unsurlar içeren diğer birçok kaynaktan beslenen avantürler ve hatta westernler görülür. Bu denli zengin ve aslında iç içe geçerek karmaşıklaşmış tür skalasına belli başlı sınırlar koymak zordur ama farklı alt başlıklar ile sürekliliği hedefleyen serginin içeriği için bir çerçeve çizmek de elzemdir.
Cengiz Üstün eserleriyle
Cengiz Üstün, 70×100 cm. Tuval üzeri akrilik, 2024
Sanatçı aynı zamanda ‘Dergilere kapalı kalmamak, sergilerle daha görünür olmak ve koleksiyonerlere ulaşmak’ istediğini dile getiriyor.
Cengiz Üstün and Kerem Topuz have reinterpreted the little-known “other” world of Yeşilçam with their own lines. From cult films with loyal audiences to lost films with only posters and lobby cards left, from little-known films that only a handful of people were interested in to movies that were once shown almost every day on television, many Yeşilçam fantasies have come to life again in the works of the artists.
The period from the late 1960s to the early 1980s, the golden years of cinema history in terms of annual production, is home to many examples of genre cinema. The period that inspired the exhibition is characterized by sporadic horror experiments, parodies that can be considered under the umbrella of science fiction, comic book adaptations, avant-garde films and even westerns that draw on fairy tales, serializations, myths and many other sources with fantastical elements. It is difficult to set clear boundaries to such a rich and complex genre scale, but it is also essential to draw a framework for the content of the exhibition, which aims for continuity with different sub-headings.
Depuis, c’est quasi comme dans la chanson : le monde est une vraie porcherie, sauf que les porcs se comportent comme des hommes, de l’élevage en batterie à des milliers de tonnes de morts !
Thomas BERNARD / Fluide Glacial
Si j’écris aujourd’hui, c’est que je ne peux plus fermer ma gueule. Mais comme nul ne prête l’oreille à un bougre qui couine, je préfère étaler ma douleur sur ce papier, qu’au moins mes parents me lisent et me viennent en aide… Pa’, Ma’, me voilà victime d’une terrible malédiction ; je vois des gros cochons à tous les groins de rue ! Tout ça parce que j’ai ânonné trois fois ce nom damné devant un pot de rillettes… Bathori ! Bathori ! Bathori ! Depuis, c’est quasi comme dans la chanson : le monde est une vraie porcherie, sauf que les porcs se comportent comme des hommes, de l’élevage en batterie à des milliers de tonnes de morts !
Si on ne lui fait pas d’offrandes via paypal ou si on ne l’adjure pas sur facebook, inutile d’interviewer Martes Bathori ; ce scélérat répond aux questions uniquement par des bobards. Mieux vaut alors compulser son vieux wikipedia pour connaître l’effroyable vérité : bien que d’apparence séduisante et d’un maintien plein de dignité, il serait l’esprit le plus dissolu et crapuleux que la France n’est jamais connu. Descendant d’une célèbre comtesse sanglante, Martes serait le premier de sa lignée a avoir troqué sa manivelle intestinale et sa poire d’étouffement pour des instruments de tortures bien plus vicieux : la peinture, la sculpture, la céramique et bien-sûr, la bande-dessinée !
La légende raconte que, alors minot, révulsé par la visite scolaire d’un élevage intensif de gorets, il jura de venger le monde animal de la tyrannie prédatrice de l’Homme. Dès lors, son génie machiavélique se mît au service d’une satire anti-spéciste où la chair à saucisse prend le pouvoir et dont le nihilisme rigolard confirme l’adage : « Si tout est bon dans le cochon et bien dans l’humanité, tout est à jeter ! »
Bathori 2020
Comme pour réussir une terrine, Bathori mixe dans son art les meilleurs morceaux de la pop culture; science fiction vintage (La Ferme des Animaux, La Planète des Singes, L’Île du Dr Moreau), l’érotisme sadique de l’Ero Guro et l’expressionnisme teuton d’un Otto Dix boosté aux ecstas. Ses doigts fourchus maîtrisent toutes les techniques que le démon Halouf met à sa disposition et ses synapses irriguées par la sauce gribiche font de lui le pape du récit en jus de boudin.
Ce n’est pas pour rien si un culte lui est rendu dans les milieux interlopes de l’underground international ; tous les amoureux de l’art le vénèrent. Mais, ses fidèles, trop flemmards pour lui bâtir un autel, préfèrent encore lui acheter un de ses livres 100 % very bad tripes (Les Requins Marteaux, The Hoochie Coochie) ou une œuvre licencieuse dans une galerie de basse extractions.
Since then, it’s been almost like the song says: the world is a pigsty, except that pigs behave like humans, from battery farming to thousands of tons of death!
Thomas BERNARD / Fluide Glacial
If I’m writing today, it’s because I can’t keep my mouth shut. But as no one lends an ear to a squealing bugger, I prefer to spread my pain on this paper, so that at least my parents will read me and come to my aid… Pa’, Ma’, here I am, the victim of a terrible curse; I see fat pigs at every street corner! All because I muttered that damned name three times in front of a jar of rillettes… Bathori! Bathori! Bathori! Since then, it’s been almost like the song says: the world is a pigsty, except that pigs behave like humans, from battery farming to thousands of tons of death!
If you don’t make offerings to him via paypal or adjure him on facebook, there’s no point in interviewing Martes Bathori; this scoundrel only answers questions with lies. It’s best to consult his old wikipedia to find out the dreadful truth: despite his attractive appearance and dignified bearing, he’s the most dissolute and villainous mind France has ever known. A descendant of a famous bloody countess, Martes is said to be the first in his line to have traded in his intestinal crank and choking bulb for far more vicious instruments of torture: painting, sculpture, ceramics and, of course, comics!
Legend has it that when he was a young boy, disgusted by a school visit to an intensive pig farm, he swore to avenge the animal world from the predatory tyranny of Man. From then on, his Machiavellian genius was at the service of an anti-speciesist satire in which sausage meat takes power, and whose laughing nihilism confirms the adage: “If everything is good in the pig and good in humanity, everything is to be thrown away!”
Revivez l’échange avec Martes Bathori, auteur de BD. 2021
As if he were making a successful terrine, Bathori’s art mixes the best bits of pop culture; vintage science fiction (Animal Farm, Planet of the Apes, Island of Dr Moreau), the sadistic eroticism of Ero Guro and the Teutonic expressionism of an ecstasy-boosted Otto Dix. His forked fingers master all the techniques that the demon Halouf puts at his disposal, and his synapses irrigated by gribiche sauce make him the pope of storytelling in juice.
It’s not for nothing that he’s worshipped in international underground circles; he’s revered by all art lovers. But his followers, too lazy to build him an altar, still prefer to buy one of his 100% very bad tripe books (Les Requins Marteaux, The Hoochie Coochie) or a licentious work in a low-grade gallery.
Pol Edouard ‘Super Bagarre de Rue 2 Turbo’ 80x50cm, mixed media on paper, 2020
« Lorsque je pense à un monde post-apocalyptique, je m’inspire de l’Antiquité, car l’état d’esprit des gens de l’époque est très proche du nôtre »
La fin des temps est devenue un thème récurrent dans le paysage médiatique, qu’il s’agisse de l’angoisse climatique ou de l’agitation sociopolitique. La notion d’apocalypse (et les êtres qui vivent pour y survivre) n’est pas nouvelle, bien sûr. En fait, la prophétie de tels événements fait l’objet de discours depuis des millénaires. « Lorsque je pense à un monde post-apocalyptique, je m’inspire de l’Antiquité, car l’état d’esprit des gens de l’époque est très proche du nôtre », explique l’artiste français Pol-Edouard.
Illustrer L’apocalypse dans une Gloire Rétro Ultra-saturée
Basé à Paris, les scènes dystopiques de Pol mettent souvent en scène des personnages tels que Blade, Terminator et Xena dans un affrontement pour la survie. Réalisé en grande partie au marqueur sur papier, son travail se rapproche des originaux – à savoir cette ambiance glitchy et rétro-futuriste qui est devenue si emblématique des années 80 et 90 – mais d’une manière hypnotique, vertigineuse, humoristique et carrément apocalyptique. « Tout comme les peintres d’autrefois représentaient la mythologie et la Bible, parce qu’il s’agissait de thèmes communs,» explique Pol, « le cinéma construit aujourd’hui notre univers commun. »
Pol Edouard ‘Gangs of Paris’ 2023
“When I think of a post-apocalyptic world, I draw inspiration from antiquity because the mindset of people then is very close to our own,”
The end times have become a recurrent theme within the media landscape — from climate angst to socio-political unrest. The notion of the apocalypse (and the beings who live to survive it) is nothing new, of course. In fact, the prophesying of such events has been the topic of discourse going back millennia. “When I think of a post-apocalyptic world, I draw inspiration from antiquity because the mindset of people then is very close to our own,” tells French artist Pol-Edouard.
Illustrating the Apocalypse in Ultra-saturated Retro Glory
Based in Paris, Pol’s dystopian scenes often pit characters like Blade, Terminator and Xena in an ass-kicking showdown for survival. Largely made using marker on paper, there is a quality about his work that lends itself to the originals — namely that glitchy, retro-futuristic vibe that has become so emblematic of the ‘80s and ‘90s — but done so in a way that feels hypnotic, dizzying, humorous and downright apocalyptic. “Just as painters in the past depicted mythology and the Bible, because those were common themes,” Pol tells, “today, cinema constructs our shared universe.”
On top of his own toys and print releases, Pol has had his hand in a number of collaborations over the years, including a Terminator 2 capsule with Brain Dead. His work, much like the LA-based lifestyle label, is amusing but contains dense undertones ties to a number of sub-cultural communities, such as retro action films to apocalyptic video games, such as Final Fantasy VII, which will see the second part of its remake drop next month.
Le mauvais oeil #69: ITW avec Pol-Edouard et encore une bonne dizaine pour voir son exposition dans les ateliers du Dernier cri.
« Lorsque je pense à un monde post-apocalyptique, je m’inspire de l’Antiquité, car l’état d’esprit des gens de l’époque est très proche du nôtre »
Pouvez-vous décrire votre dernière exposition, TRIPLE IMPAKT, et le livre correspondant que vous allez inaugurer cette semaine à Marseille ?
TRIPLE IMPAKT est une exposition au studio du Dernier Cri. Elle rassemble une grande partie de mes dessins de ces dernières années. Il y a beaucoup de dessins au feutre et de dessins où je mélange le feutre et l’aérographe. Les thèmes abordés dans le livre et l’exposition sont ceux que j’affectionne toujours particulièrement, comme les cyborgs, les femmes armées, etc.
Y a-t-il une histoire derrière cette série particulière et en quoi votre dernière exposition diffère-t-elle de vos travaux antérieurs ?
Ce qui est intéressant, c’est que, parallèlement aux dessins originaux exposés, j’ai réalisé des dessins pour la sérigraphie. Ceux-ci ne sont pas affichables car ils ne sont pas sur une seule feuille mais séparés par couleur (une couleur par feuille). Ensuite, grâce à la sérigraphie, les couches peuvent être superposées pour révéler le dessin final. C’est un projet qui s’étend sur deux ans, et tous ces dessins sont inclus dans le livre qui porte le même nom que l’exposition. Je juxtapose mon travail sur les dessins originaux avec les dessins sérigraphiés du livre, créés simultanément.
Pol-Edouard, Exposition d’estampes et d’originaux Sortie officielle du livre aux éditions du dernier cri
Can you describe your latest exhibition, TRIPLE IMPAKT, and the corresponding book you’re going to open this week in Marseille?
TRIPLE IMPAKT is an exhibition at the Dernier Cri studio. It brings together a large part of my drawings from recent years. There are many marker drawings and drawings where I mix felt-tip pen and airbrush. The themes addressed in the book and the exhibition are those I always particularly enjoy, such as cyborgs, armed women, etc.
Is there a story behind this particular series and how does your latest exhibition differ from your past work?
What’s interesting is that, parallel to the original drawings exhibited, I produced drawings for screen printing. These are not displayable as they are not on a single sheet but separated by color (one color per sheet). Then, through screen printing, layers can be superimposed to reveal the final drawing. It’s a project spanning over two years, and all these drawings are included in the book with the same name as the exhibition. I am juxtaposing my work on the original drawings with the screen-printed drawings from the book, created simultaneously. (Resource: Hypeart)
Pol Edouard ‘Triple Impakt’ LDC Edition, 2023
TRIPLE IMPAKT!
Pol-Edouard (Detail)
C’est la guerre des amazones, désirent-elles vraiment tuer tous les hommes de ce monde ou juste leur faire peur ?
Pol-Edouard, né en 1984 à Paris, a suivi des études d’art et d’illustration. Le directeur de la section lui transmet sa passion pour la renaissance lors d’un voyage en Italie. Il prend des cours de modèle vivant qui vont l’influencer à placer le corps humain au centre de ses recherches. Interné en hôpital psychiatrique à plusieurs reprises, son état se stabilise en 2017. Depuis, il développe sa pratique à travers divers médiums comme la peinture, la sérigraphie, la gravure et l’édition de fanzines.
Il dessine des motos, des gros flingues et des meufs baraquées. S’inspirant du cinéma hollywoodien des années 80, il peint des scènes d’action. Il réintroduit dans ses illustrations les thèmes et les éclairages multicolores en référence à ses films cultes. Dans la lignée de l’art brut, son style trash interfère. C’est la guerre des amazones, désirent-elles vraiment tuer tous les hommes de ce monde ou juste leur faire peur ?
“The most important aspect for me is to create something with my hands, for the dopamine rush I get when I can see and feel the result.”
Erdreich is an independent art studio run by Resa Macourek, a multidisciplinary artist from Vienna, Austria, who creates unusual drawings and accessories, and so now it’s time to get to know this talented woman.
Hello Resa, would you like to tell us a little bit about yourself for readers who don’t know you? In addition to being an illustrator, you also do very interesting gothic designs, how long have you been doing this, what kind of work have you done as Erdreich so far, what kind of path have you followed.
I’m an artist from Lower Austria but based in Vienna for the last ten years. Beside a whole bunch of other creative projects, “ERDREICH” is one of the most consistent ones. I started it in 2017 while I was in jewelry college. First it was just jewelry, mostly pins and necklaces, now it is a wider range of jewelry and also prints and some other stuff.
VAMPYR III necklace (small). newsilver, hand-etched with acid.
A piece of jewelry should be made to be worn or it loses a little bit of meaning.
Do you have an academic education or are you a self-taught artist?
After I finished my fashion design studies, I knew it wasn’t the right thing for me. So I attended a college that offered a field of studies that combined jewelry design and fine arts and got my arts diploma there. During my time at the college I fabricated more experimental and unwearable art jewelry. Some of these pieces were shown at multiple exhibitions. One is actually starting this month in Seoul at the Museum of Art Craft. Creating such pieces was fun but my approach is that a piece of jewelry should be made to be worn or it loses a little bit of meaning.
In every other discipline I am working in I am self-taught. Since I can remember I was crafting with every imaginable material and till today I am still trying to do new stuff all the time. Most recently I started to learn embroidery.
When we look at your work, we encounter a designer, even a fashion-designer rather than an illustrator. How do you position yourself in terms of your work?
With so many projects going on it is hard to put a name on it. I would consider myself more of a craftsperson. The actual designing takes the smallest part in my working process. The most important aspect for me is to create something with my hands, for the dopamine rush I get when I can see and feel the result.
When we look at your illustrative works, design products and presentations, we see that you create a very different, gothic world of your own. Do you have a brand or a dream project that you are trying to create with this in mind?
Not really, the most things that I draw or how I present my work in photos happen spontaneously and intuitively without a vision in my mind. The classical gothic aesthetic bores me slightly out so there must always be a little bit of weirdness and humor beside the dark elements.
Häexenmilch Tattoo Atelier – Vienna
Creepy & Funny Sketches by Erdreich
Erdreich Jewelry
“I would consider my jewelry as genderless. I have female, male and non-binary customers. The types of products I’m creating are all sizeless so there are no limitations regarding body shapes.”
In which direction is your current working principle more?
I have been practicing automatic drawing almost every day for the last couple of years. I just let my hands do their thing without knowing what the result will be. It is very relaxing for the mind. First I was a little afraid to show these drawings because they are far from perfection and unfiltered from my subconsciousness. But people seemed to like them and also wanted to get them tattooed. So that led me to do more tattoos recently. I started with hand poked tattoos some years ago for fun and mostly on myself or friends. You can find them under the name “häexenmilch” on Instagram. I am excited and happy every time someone decides to wear my permanent jewelry on their body.
On one side there is also an economic aspect I have to keep in mind. People are willing to spend a lot more money on tattoos than on jewelry. And on the other side it is a much more social thing to tattoo someone than sitting alone in my crafting dungeon.
Another passion of mine is lino printing. I print on paper as well as fabric so the prints can be worn as patches. I also feel the importance of wearability there too.
Artist at Work !!
Most of my designs are drawn by myself, it’s mostly animals, monsters, bones or jackalopes. Sometimes I also use motifs from ancient woodcuts or etchings that I love.
As Erdreich, what kind of materials do you work with in your design products, would you like to talk a little bit about the technical aspects of your work and the content of the creations you create?
When I used to do crazy art jewelry I used all kinds of unusual materials like my own teeth, animal or human bones, insects and parts of Barbies I found in the trash. In the last couple of years I almost exclusively worked with non-precious metals like copper, brass or new silver. The technique I’m using is chemical etching which is originally used for decorating armors and weapons and later for intaglio printing.
It is a long and labor-intensive process. I start with a sheet of metal which is covered in an acid-resistant ground, then the motif is carved in reverse by hand with an etching-needle. After the acid bath, the sheet is cleaned and the piece is cut out, filed, soldered and polished.
With all the modern technical possibilities like laser cutting/printing, cnc milling etc. I could easily produce pieces much faster and in an easier way but as I said I love working with my hands. It’s much more satisfying than letting a machine do the work. So every piece is unique and not just a soulless industrially produced piece of metal. In comparison to precious metals the ones I’m using are recycled and much more environmentally friendly and affordable.
Most of my designs are drawn by myself, it’s mostly animals, monsters, bones or jackalopes. Sometimes I also use motifs from ancient woodcuts or etchings that I love.
Artist at Work !!
Erdreich Productions !!
“So every piece is unique and not just a soulless industrially produced piece of metal. In comparison to precious metals the ones I’m using are recycled and much more environmentally friendly and affordable.”
I guess you are designing something for men as well as women’s accessories, what awaits us in the upcoming period.
I would consider my jewelry as genderless. I have female, male and non-binary customers. The types of products I’m creating are all sizeless so there are no limitations regarding body shapes.
At the moment I rarely create new pieces if so, then mostly for myself, on demand or for markets. Jewelry wise I’m waiting for the muse to visit me. But I like my stuff too much myself to give up making jewelry completely.
Vampire in her sleep
Exciting moments from the workshop…
“Mixing things together that seem to be opponents is not the most easy thing to do but it creates irritating and interesting outcomes.”
Between Life and Death: Erdreich Jewelry
Beware! Erdreich Jewelry
Erdreich Jewelry
Erdreich 2024 Collection
Erdreich Jewelry
Let’s talk about your aesthetic world! You have a dark and gothic style, but I don’t know how you manage to transform it into a modern form by blending it with interesting colors and a creepy sense of humor; what inspires you, are you really a melancholic and gothic woman or is it just an attitude you use in your art?
It is a 100% expression of my personality. Like I said I do the things that I do out of intuition and authenticity is very much important to me. I am in a constant cycle of change and that deflects on my art. So there is the more funny, colorful, cute and silly part of me existing next to the dark, depressive, creepy, more extreme or even repulsive part. Sometimes they are equally coexisting, sometimes one of the parts is more dominant. Mixing things together that seem to be opponents is not the most easy thing to do but it creates irritating and interesting outcomes. Which I prefer over nice or pretty things.
My biggest inspirations are nature and decay. Always been fascinated with death since I was a child. While other kids played with dolls or something I dug out some bones from the ground. A visit to the local graveyards is a mandatory thing to do when I visit a new place. I also feel very blessed to live in a city with one of the biggest and most beautiful graveyards in Europe. A lot of my jewelry photos were taken at the Vienna Central Cemetery.
Also I am a huge fan of folk horror which is the perfect combination of the two things.
“I do feel the importance of leaving the planet as unscathed as possible with what I am doing.”
Erdreich while resting in her coffin… : )
How are you with fashion, are there any brands you follow?
After I finished fashion school I completely lost interest in producing or keeping up with fashion. I couldn’t ignore the fact that this branch is extremely unsustainable and superficial. For the most part I am wearing vintage or second hand clothes and of course band shirts.
Do you think that small-scale ateliers and arts & crafts culture provide an alternative to big brands?
That would be a beautiful thought but I don’t think so. They are important for the big brands to copy from. But with something made on a smaller scale, by hand, often by one-person businesses comes a certain price, which is absolutely fair to ask for, but sadly not affordable for most of the people. But I love being in a DIY scene which gives me the opportunity to trade art with other awesome artists.
Erdreich Jewelry
Erdreich Jewelry
So, you say that the real creative potential lies in these amateur souls?
I would say that a lot of artistic potential cannot be fully reached because many people simply do not have the resources and do not come from affluent backgrounds. The most creative and talented people I know don’t know how to do something with their gift or can hardly navigate in this capitalistic system.
But real art (the same with music) has to come from a place of suffering in some form, in my opinion.
Can we talk about labor exploitation or a class struggle here?
I come from a lower-middle-class family, which has been financially unstable for most of the time, yet I have had the privilege of always receiving support from my parents, even though they probably would have preferred a path with less struggle. Others have much higher systemic barriers that prevent them from equitable access to artistic careers. To afford my creative pursuits, I have also always had to do lousy low-wage work. But I’d rather work in a shitty job and do my craft in my freetime than let my creativity be exploited by a company.
Isn’t there anything that bothers you about big brands getting rich from youth trends?
My opinion on this is ambivalent. On one hand, I think it’s good that larger brands are now engaging with diversity, which can definitely help marginalized groups by making them visible. On the other hand, there is, of course, the problem that many companies simply appropriate without giving recognition or credit, and they excessively profit financially from it. But I do not know anything about youth trends at the moment to be honest.
From your presentation photos, I think you are a nature friendly person, do you have a worldview that influences your designs and art?
I grew up in the countryside so nature plays a big part in my life. The translation of “ERDREICH” is “soil” or “ground”. I do feel the importance of leaving the planet as unscathed as possible with what I am doing.
Isn’t there a chance we can reverse the perspective in favor of DIY Culture?
My view on this is rather pessimistic, so in general I would say no. I think it’s too late. But DIY culture provides an important safe space for those who are searching for refuge. Even in a culturally rich city like Vienna, not much value is placed on the less commercial part of the cultural scene or a low-threshold access to institutions or education.
Erdreich Jewelry at Punk Market, 2022
As Erdreich, where and at what kind of events do you mostly offer your products for sale, and what should those who want to reach you do?
On a few occasions a year I am selling my jewelry and prints at some art or DIY markets in Vienna. Besides that I am taking requests on Instagram or doing story sales from time to time.
Erdreich Jewelry
That Barbarella pose with one of the Hirnplatzt t-shirts is really cool, your friends I guess? I know them from the comics they publish and I was surprised to see you. How are you with music, what do you listen to?
Thanks! I actually don’t know Hirnplatzt personally just through instagram. Music and especially live music is the most important thing to me. I listen to a broad spectrum of genres, mostly extreme stuff like metal, punk, hardcore, noise but I also love folk, blues, German rap and some of the most obscure stuff imaginable. I am always digging for new artists and styles.
Are you into occultism or black metal? If you have any (old or new) bands from the Austrian Black Metal scene that you would recommend to us, we would love to hear about them.
I’m drawn to occult stuff but rather regarding the aesthetical then the spiritual aspect. I wouldn’t consider myself a spiritual person. Black metal has been a huge thing for me since I was a kid. I still remember the life changing day on which I bought my first Darkthrone record almost 20 years ago. That genre had and still has a big influence on me. I always gravitated towards extreme art.
I’m really glad that we have a small but vital underground scene in Austria. There are many good bands, especially those who are rooted in the punk scene. Hagzissa is one of my favorites, they have such a strong musical and aesthetic concept. It’s always a joy to see them performing on a stage. Some other good ones that come to my mind are Kringa, Peace Vaults, Parasite Dreams, Ara, Weathered Crest, Circle of Shadows or Witch Ghetto.
and the vampire retreats to her coffin…
Thank you very much for participating in the interview, it’s exciting to get to know you and your art works, we also thank you for sharing your knowledge and vision with us.
I think you have a musical background before Trilmob; can you sum up the process for us please?
Music has been in our family for three generations, hence the name “Trilogy Mafia”. We (Don Trilo & Mic E.D.) formed the group in the summer of 2007. Before we joined forces, we had our separate groups. Trilo had Trilogy Mafia, and Mic had Viceversa. We began to collaborate more often and decided to expand Trilogy Mafia by adding Viceversa and Fox River Boys to the roster. Eventually the groups went their separate ways but Trilo and Mic continued to collab and form what is now known as Trilmob.
You are running a music label named Trilogy Mafia Records. What cause you to work like this?
We believe in having our own creative control and making our own decisions without influence or pressure from a major label. We have the resources to create our own music, merchandise, and everything else. There are a lot of independent hip-hop labels striving right now, such as Strange Music, andFunk Volume.
Do you think that we are living in a age of consuming something quickly (and forgetting easily)? Or you think, thats on our hands to use internet in a positive way?
We have released hard copies of our music in the states, but we see more and more people downloading our music in the states and in other regions. I think the internet is a positive change for music, overall, and especially independent labels. As long as the artists are putting out quality music, then there will always be a demand for it.
For booking inquiries, contact Noel_rivera@icloud.com/ miceducation3@gmail.com
Our music is all about the energy, and every time we get on stage we put on the best show possible. Often times, our live show is what separates us from other rap groups.
What keep Rap music industry afloat? Rap music came out from the streets, is it still on the street? Or money and being famous is standing in the forefront nowadays?
Rap music now is split into sub-cultures, many of which overlap. In mainstream rap, you mainly see the money and fame. But there are many underground artists who are keeping the raw, uncut rap alive. With so many different styles of rap available, it is no longer strictly for the streets, but can appeal to many different type of people.
What would you say if we want from you to sum up your style and “Midwest sound”?
There are many pioneers of this style in the Midwest, including Tech N9ne, Twista, and Bone Thugs-N-Harmony. We call it “Double-Time” or “Chopping”. Our area is well known for this style, but there are artists from allover the world who use the style now. (As heard on Tech N9ne’s “WorldWide Choppers”)
At the end of 90s and beginnings of 2000 Eminem was very famous, he did bring up Rap music. According to you what did make Eminem so special like this?
Rap music was huge in the USA before Eminem was around. Legends in the rap game such as Dr.Dre helped his popularity grow. He is a very talented rapper, and the mainstream embraced him and he eventually became a household name in many countries.
Trilogy Mafia Records & Thirsty Mob of Aurora, IL collab on “Lyrical Narcotic” Produced by SwizZz.
Rap absolutely has no limits. It is all about expression and style. It can be performed in any language as long as the passion is behind the music.
What are you working on lately?
We have been working on “Rap Riot” which is Trilmob’s first release. Featuring collaborations with Snow tha Product, Stevie Stone, Peign, HaZe, LivFree, and more with original production by Trilogy Mafia’s Don Trilo.
Thanks so much for joining to interview, if you want to say something, please just go on!
Please follow us on Twitter and Instagram @DonTrilo x @MicED and find more about us by searching #TRILMOB! Check out new video “Lyrical Narcotic” on YouTube and look out for the “Rap Riot” project coming soon!
Thanks for the interview, we look forward to many more interactions with you guys. Hopefully one day we can perform out there for Istanbul!
Malt liquor Mission now streaming on all platforms.
“The more you know, the more you realize you know nothing. But what I do know is how to rise above hate. I know that you know that I know the jealous will always envy. And I know real family and real love is all that matters.”
Knowing does not make an individual wise. Although knowing is a close relative to knowledge, wisdom is its correct use, which will lead to enlightenment when you truly know thyself. With that said, New Jersey’s Wes Nihil has been around the block enough times to know nothing is promised. While on tour in California, Wes felt compelled to bring the cameras out and capture some epic visuals for his newest offering “I Know You Know”, an ode to staying true to yourself and your loved ones. The spellbinding backdrop is a collaborative whirlwind created by Wes Nihil and Grammy Award-winning producer Don Cheegro, which perfectly collides with Wes’s in-your-face lyrical slaughter and addictive chorus that will remain trapped in listeners’ heads for days.
Street poetry shot on location in the heart of Newark NJ by JOHN L.
“If I know anything at all. I know tomorrow is never promised. I know it is time to stop overthinking. It is time for action.”
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NJ Urban Art Festival / August 17 2024
This will be the only east coast show of Wes Nihil will be doing this year on the East coast aside from a pop up show or two, so be sure to come out and catch his set; he will have all the new summer merch etc on deck, see you there, all the details are on the flyer !
“Never forget where you came from or you will get to where you are going. South st Newark NJ brick city hardcore till the casket drops im apart of the block. Mind Body and soul love light and blessings.”
The anthem’s visuals, shot guerilla-style in Los Angeles, offer a glimpse into what life is like on tour, the importance of honoring family and the value of loyalty.
When speaking of “I Know You Know”, Wes reiterated, “If I know anything at all. I know tomorrow is never promised. I know it is time to stop overthinking. It is time for action”.
Wes Nihil’s “I Know You Know” music video is OUT NOW and is dedicated to fallen family Big Rich and OG Tank.
Wes Nihil / RazorBlade HandGrenade
ALL PRECIOUS GEMS ARE EVENTUALLY DISCOVERED
I have personally only heard of Wes Nihil. Hearing his music I can see why he’s had a successful musical career in a few genres’s. Shout out to Galactic Push for connecting 1 World Magazine with this opportunity and interview.
I was born and raised in New Jersey- more specifically I bounced around Union, Irvington, and Newark.
What type of music did you grow up hearing?
I grew up listening to a lot of classic Hip Hop. Punk Rock, and Hardcore. MTV in the 90s subjected me to different artists and I’ve always been drawn to a mix of genres.
Officially how much work you put out (albums, EPs Singles etc)
I front a Punk/Hardcore band called Razorblade Handgrenade which has 3 full-length albums. I put out one full length album as Wes Nihil “Real Music For Real People.” and 3 EP’s, “The Crimson Twins” produced by A-$harp “The Wes Side Story” produced by Bersurke. and “Wicked Life of Crime” produced by Stu Bangas. It’s hard to keep track, but there’s definitely other singles and features with other artists out there.
Your name “Wes Nihil” sounds like West Nile, any connection?
Hah, no, I get that a lot. Nihil is short for Nihilistic, since Nihilistics were a punk band that inspired me when I was young.
“Wicked Life Of Crime” w/ Stu Bangas, how’d this happen? What you think bout Stu?
About a year and a half ago, Stu produced “Catch a Body” and it did really well. I really enjoyed working with him and when I began writing “Wicked Life of Crime” he was the first person I thought of. Stu is a great guy, I don’t have one bad thing to say about the homie. He’s on-point when it comes to his work and is responsive and easy to work with.
WES NIHIL “Wicked Life Of Crime” Casette
“When you live in a place like that you have to find ways of surviving and I know that Punk and Hip Hop helped prevent me from going down a different path. “Wicked Life of Crime” represents who I am and where I came from.”
Why “Wicked Life Of Crime” as title and subjects?
“Life of Crime” is a documentary on HBO based off the block I came up on (South St., Newark, NJ) It follows people from my hood from 1982 to 2018 showing how easy it was to fall in a cycle of drug use and crime. The environment in this film was exactly what I was surrounded by. It really hit home for me because I know how difficult it is to come up in that environment. I felt inspired to run with that name and concept since it played a big role in shaping who I am. When you live in a place like that you have to find ways of surviving and I know that Punk and Hip Hop helped prevent me from going down a different path. “Wicked Life of Crime” represents who I am and where I came from.
Whats next for Wes Nihil?
Right now, I have 2 new singles and 2 new music videos dropping in the next few months They’re produced by Krohme and these songs are somewhat of a cross-over of Hardcore and Hip Hop. I’m really focusing on putting out content that represents who I am. I’ve got some legendary features on there which I’m excited about. I’m currently writing and recording another album- hopefully we’ll have it out within the next year. I’m always putting out new merchandise and I have a winter line dropping very soon.
Wes Nihil, Circa / Simpler times, 2014
“Being an artist can be really rewarding, but it can also be exhausting and disappointing at times.”
Any message for the intelligent reader?
The music I make is based off a lifestyle I really live. I do this because I love it first and foremost- that’s the bottom line. I’m really not concerned with all the money, fame, or success. It’s part of the journey, but it’s not what I do this for. Anyone out there that wants to do music or has begun the process, do it because you love it. Being an artist can be really rewarding, but it can also be exhausting and disappointing at times. If you love it, then no matter what happens in the process you will remain happy because you’re doing it for the right reasons. I know it sounds corny, but follow your dreams and don’t listen to people In regards of what they have to say about your creativity. I can’t tell you how many times people have shot down my ideas or called me crazy just to have those ideas receive the most attention and success.
Wes Nihil and Danny Diablo team up with Krohme to create”Forever darkness.” 2022
“Hip Hop and Hardcore have always crossed paths. Both genres gave people some sort of escape from their struggles and released pent-up anger/frustration in a positive way.”
How has your Hardcore band experience helped with your Hip Hop career?
From the early days, Razorblade Handgrenade shows were packed with friends and fans who knew the lyrics and repped our merch. Throughout the years, these people have remained a sort of community that is quick to back anything we do. They’ve always been very supportive since the early days of my Hip Hop career. RBHG is Hardcore Punk, but definitely has Hip Hop elements to it, so it makes sense that our fan base would be down with my music. Hip Hop and Hardcore have always crossed paths. Both genres gave people some sort of escape from their struggles and released pent-up anger/frustration in a positive way.
Very well said. What’s next for Wes Nihil & Bersurke?
Bersurke is putting out a medieval-themed beat tape called “Cynical Sorcerer.” I’m featured on it along with Daddio Smoov (of III Supreme) on the only song with vocals called “Gauntlet.” The album will be out in November, 2022. As for future work, we plan to produce more songs together including a full-length album.
What’s your worst touring story?
Oh man, that’s a loaded question. Honestly a lot of tours have been a blur. There’s definitely been a lot of chaos, especially when I was on tour in Europe with Danny Diablo. But I think the worst was from when I was on a West-Coast tour and broke my knee 2 days before I had to perform at a festival in California. I was at another show and somehow moved wrong in the mosh pit and was suddenly in excruciating pain. My friend thought I was exaggerating and he pulled a chair out from underneath me and I couldn’t even get up. The next day someone got me crutches and I ended up performing at the festival mostly in a chair. I flew home and four days after the injury. I went to the emergency room. My doctor asked “Do you believe God?” She was com-pletely shocked by the timeline of things and explain. I could have easily threw a clot and died, especially on the plane. I don’t remember the specifics, but the doctors said it was a really bad series ol fractures and I needed surgery. I got 12 screws and a plate put in and ha one hell of a scar.
Wes Nihil is back again with yet another hardcore/hip hop mash-up to kick off !!
Hit the link in bio and go drop a like and a comment on you tube and share it with everyone you know and tell them to do the same ! Ty
LÖPÇÜK 