Seeping through the crevices of the harsh noise realm with demeanor and intensity, Jonathan Borges has been steadily impressive with his recordings under his Pedestrian Deposit alias. Last year’s “Fatale” and “Vestige” were immediate landmarks in the noise scene but 2007 sees Jon Borges embarking on a whole new adventure under his brand new Emaciator guise. Bleak soundscapes that hark back to the early ‘80s when Maurizio Bianchi and the Broken Flag stable caused a ruckus in the worldwide underground.
I'd imagine something like guitar feedback on TV. MTV's “120 minutes” show. Half-received radio stations. Instrument smashing. Fade-outs. Any mainstream songs with sad or desperate lyrical content.
The fascination with equipment didn't come until later. I do remember seeing photos of MSBR, Killer Bug, and others, being perplexed by their equipment, thinking the possibilities within the cables and the current were endless.
That it wasn't good enough and I should try harder – while subconsciously thinking that some day I'd gain self-confidence.
There was a wealth of material before Pedestrian Deposit, all mostly recorded under my own name. It isn't memorable now, but represents a young, optimistic boy trying to mold a template for the future.
Loneliness, longing, desperation, desire, an inability to communicate (at least in the beginning), and so on.... I've always felt the project is a direct connection to my subconscious, my personality, my bloodstream; as such, the whole of my character is included.
I haven't quit PD yet; it's just been on an extended hiatus. I find it difficult to focus on more than one project at a time these days, as each one requires a very dedicated and individual mindset.
It's immensely important for me to be connected to everything that I do, something I feel a lot of people are not. It has to make me feel strongly, or it has no purpose. So I do tend to go for the most powerful of emotions.
It felt right to combine my interest in more subtle types of composition with the harsher elements, if anything just to have a break from monotony. These elements can be monotonous on their own, but together they balance out the dynamics for me. For Emaciator I knew I wanted something different, a polar opposite to that approach. At first, it was to be a secret project, just a few tapes, very discreet, possibly nothing more
Both. I'm certainly a control freak, however there are many mistakes or accidents that have been used in different recordings.
Early Power Electronics is infinitely more fascinating to me when compared to the modern stuff. I just see too much posturing now; too much of a contrived, forced image that goes along with it. There are a chosen few that carry the torch still, with no vanity, Halflings and Weak Sisters for sure.
Not sure if this is “all-time,” but these never get old:
Boy Dirt Car
Stars of the Lid
Hunting Lodge’s “Will”
Belong’s “October Language”
Sonic Youth - first eight records
target practice, girl posse, crow sniper, female vocals about heartbreak
I wouldn't say it is as emotionally deep as Pedestrian Deposit, nothing for me can be, really. But Emaciator represents a certain style of sound that I find moving. And, as it is connected to me, those emotions are a natural part of it as well.
At this point I'm sure that Emaciator has left the Power Electronics genre entirely. If anything, I suppose it could be viewed as a cold, isolated form of industrial collage. But there are always elements of different styles lurking around.
It depends. Most of the time I'll begin with an idea and expand on it as I'm recording; other times I'll have a beginning and an end planned, leaving the center to be determined. Sometimes I'll record an idea and mix it into a piece later, but that is rare. Most recordings are one-take, live, with no overdubs.
Not yet. I have faith that Pedestrian Deposit will come out of it's slump with due time, but we'll have to be patient for now. At the moment I'm on a bit of a recording break as I gather new equipment and ideas.
Nothing much at the moment. Evolution. Progress. The forthcoming “Reflection” double LP and others.
I've only done it a few times now, and it was a disaster at the beginning. But the most recent performance was very successful. It's much easier to focus and get into a zone with Emaciator. Pedestrian Deposit is where the wires are crossed, brain activity overwhelming, heart-attacks imminent.
I like printing, the assembly, seeing it all come together as the various pieces are assembled. Packaging things the way I feel they should be, sounds I want to hear....
For Monorail, it may be too early to mention just yet...stay tuned, though. Big plans as always.
-- Joris Heemskerk (19 September, 2007)