DEUTSCH NEPAL:
THE COLD WIND FROM SCANDINAVIA

Good Luck with the interview!
Lina

Deutsch Nepal is ...

In someway the trashcan or the projector of my inner self where I put all the impressions that I couldn’t either stand or coop with in the world around me. The expression is a kind of gloomy psycedelic music.

What way will you introduce your works to those who never listened to your music but have a wish? Can we talk of any definite style?

Well, normally to make it easy, I usually call it "dark ambient"... that is something that people at least think they could connect and releate to. But the word "ambient" is kind of an empty word at this moment as everyone use it in different ways and it doesnґt really mean anything at all. But to explain the sound it could be described as "drooning, dark, psychodelic, industrial, gloomy soundscapes from the brain of Lina B. Doll.

Short story of your musical career. Why did you started creating music? What was your musical education and first musical trial? How did you finally come to your present level?

I started to make "music" because my music just wasn’t around and other people seemed to agree and wanted to hear it. There is no need for musical education, for the sound I make is everywhere around us... I just take a pick and make it mine. My first musical trial, if I undestand your question, I think was as a kid playing around in the Wastland of my hometown Boxholm smashing TV-sets against metall barells... later I got a taperecorder with (!) microphone (Remember this was in the early 70-ties) and me and my friends had a lot of fun with this machine. But a serious attempt to make sounds that in someway you could listen to at least twice, I think happened sometime in the early 80-ties. I don’t know how I came here where I am at this very moment but I sure had a lot of intresting and funny experiences during the trip.

What was the history of Deutsch Nepal? Why did you choose solo project but not a band?

As the punkmovment disappeared in Sweden there was place for new innovative experimental soundconstructivists and it was really a funny time here for some years but suddenly it ceased to exist, allmost anyway and there was only a few people left...still we continued to work with our projects in privat and exchanged tapes with our own "music". Today it’s only me, Roger Karmanik (CMI, BDN) and Jouni Havukainen (In Slaughter Natives) left...the rest tried to become "superstars" and failed..he, he, he,. As Mr.Karmanik decided to start a new label for the dark industrial music that was around 1987, because he thought it was of very high quality and as Cold Meat Industry started, everything started to move really fast. As he had shown intrest in the music I did record at this time I used to send him demotapes and he wanted to release it on cassette. I didnґt know what to call this project but stole a titel from an track of Amon Duul II. Later Staalplaat contacted me and wanted to release the tape on CD. Till now I released 4 fullength Cd:s and the fifth "Erosion" (Staalplaat) might be out as this interview is printed.

Do you remember any event which was the most important in the history of Deutsch Nepal, which you consider was the moment of breakthrough?

I think that the start of Cold Meat Industry was the trigger for the things that later happened in the industrial scene all around the world, might be the most important thing for all this movement witch mean Deutsch Nepal too.

Please, tell In brief about your side projects.

I have a lot af sideprojects together with different people and different names most of them are more ruff than Deutsch Nepal....here are the name of some of them Frozen Faces (apocalyptic industrial), Janitor (together with Boni from Morthound/Hazard), Boxholm (together with Raison d’etre)...+ more

What kind of music (groups, singers) had the most influence on your development?

Crass, Throbbing Gristles, SPK, Nico, Genocide Organ, Blood Axis.

What music do you listen most often now? Any preferences?

At this moment I seldom listen to music at all but sure there are some records that I listen to more often...like "The Marble Index" with Nico, "The Gospel Of Inhumanity" by Blood Axis, "Wolf City" by Amon Duul II a.s.o.

Do you have any collaborative works? Whom would you like to work with in the future?

There is Janitor (together with Boni from Morthound/Hazard), Boxholm (together with Raison d’etre) also I did a record with The Moon Lay Hidden Beneath A Cloud and some works together with Hybryds. Soon there will be something released together with Albin Julius from The Moon Lay Hidden Beneath A Cloud/Der Blutharsch but I’m not sure when or what.

They say it's going to appear some vocals on your next album. Why vocals are so rare in your music? Do you intend to try female vocals ever in the future?

There are vocals on most records but sometimes it might be hard to recordnize. Mainly I use "cut-ups" or samplings from the world around or it might be treated vocals so it’s unrecognizable for the ear but recognizable for your brain. I could imagine to use any vocals in my music but i don’t know at this moment.

What is your attitude to popularity? Do you think you are popular with any definite number of people?

I wouldn’t use the word popular... people might think the things I do is intresting. If one buy a record of Deutsch Nepal I think it’s more because they have too much money to spend..ha,ha,ha. Mainly popularity is for me to get drunk on other peoples money so it’s both helpful to start with and when I get drunk I get kind of confused .. ha,ha,ha.. (come on Lina get serious). If you mean where I get the most response I think it’s Germany but West Europe in general but also Poland, Spain, Tjeckia.....

Do you have any response from your listeners? Is it important for you to have fans?

I used to get a lot of response but as I moved around a lot for some years. I lost contact with most of them. It’s a little bit sad but good in one way because you don’t have to spend 200 dmrk on postage every week and I’m hardly a rich person at this moment as I started to study.

What stuff do you use for recording and mixing? Please describe the initial prosess of creating your sound.

Mostly I use old crappy equiptment because I’m a very poor technician and have no intrest in learning new electronic machines and also don’t think that it is very important what equiptment you happen to have. It’s more intresting to see what comes out of the things you have and do something good with that... the possibilities are eternal from just an old taperecorder and a distortionbox.

Can you say that your music is total abstraction or you keep some hidden message within?

It’s not so much more than hidden messages in my soundscapes and as it’s like abstractions the problem is that I can’t judge if it’s a message in your ears. But sure it’s a message from my brain to others around the world it’s like a big secret conspiracy. It would be intresting to know what people think that I want to say with my music because I got this question several times.

Reffering to the hidden messages - do you try to hold on to any conception in your works, musically or otherway? How do you understand conception as it is?

Conseptionalism mean that everything that is, have an quality that is it’s name. As well as it has colour, weight and length it also has it name and without the name it wouldn’t exist. Everything that exist has a name. Deutsch Nepal is a name on my soundscapes that might include the hidden messages. The hidden messages comes from my brain aswell as the music so I suppose that it is my brain that is the concept. (Hm...do I explained that in a good way... to much drugs I suppose)

Do you try to create covers of your Cds according to its inner context? Who is the author of all artworks?

Till now Mr. Karmanik made the covers for the releases on Cold Meat Industry and Fiona Tan made the covers for the releases on Staalplaat... I’m hardly a designer and I leave such things to people who know how to do it.. still I think it’s funny to do it for smaller releases and in privacy at home.

What is you attitude to computer, as an unlimited source for developing and creating sounds? Do you use it or ignore?

I use an old Emax sampler and I suppose that you could call it a computor but I use less and less computors in my works and more and more for other things. I thought it was more intresting when it was a new thing in Sweden but as with all things they get boring as you get used to it.

What is your social activity? Do you feel yourself a member of society who has to act according to its rules?

I’m not intrested in policy but I got educated in it and that made me more unintrested than ever before.. I look at my self as kind of a Nihilist I don’t belive in other people telling me what to do. Policy’s just another way for people to steel your personal power. I never lived under political pressure and maybe in reality we’re a little spoiled here in Sweden still the theories are the same globally.

What tastes do you have behind music - what literature, cinema ect. are of your interest?

I listen to anything if it’s NOT rockmusic, I don’t read so much anylonger but I like books by Ballard, on cinema I like mostly bad 70ties Horror- and Sience fiction- movies but also Fassbinder, Tarkovskij, Bergman, Aldomovar, Haynes and others anything that is NOT American.

Do you think that Deutsch Nepal changed its sound and inner sence a lot from Deflagration of Hell time to nowadays? What will remain forever and what will be forgotten?

I don’t know if it changed but i suppose that it have to. Otherwise there would be a risk that the sound got kind of boring not only to listen to but also to make... the inner sence change from track to track because all my tracks or soundscapes have their own personallities. I think nothing will be left after I die...I can’t imagine anything after ME because I am everything.

Please, tell about you new CD. How much does it differ from all what you did before and what was the idea behind it , etc.? Can you say that there will be something very special within the future album?

The new CD is more "taken down to basics" according to the sound of Deutsch Nepal and maybe a little more laidback. Some years ago I felt that the sound of Deutsch Nepal got out of my control and therefor I wanted to take some steps back to the more dirty sounds that I liked before Deutsch Nepal, that sounds I put on my last Cd on Cold Meat Industry, "Comprendido!..Time Stop...World Ending!" then it was like a restart and I built "a new house on old ground" that is what will appear on "Erosion". As you mentioned before there will appear some sleepy vocals on some tracks... and as I started to like singing maybe there will be more of that in the future CD.... but at this moment I’m not sure of anything about Deutsch Nepal as I use to put it on ice for a year after recording a CD.

Do you like to play live?

I like festivals because people are more relaxed and not so focused on what you did on stage... on usual gigs you have to answer questions about the consert several hours till you lock yourself in the hotellroom. But normally I use a drummer or someone that help me with the different treatments on stage.... some videobackdrop... some sounds and then relax... feel the puls... lay down.. in a heated cave maybe... like a big vagina of stone.

What do you think is the most important in labels to fit for musician?

I have been in several labels but at this moment I’m on Staalplaat and Cold Meat Industry. The most important for a label in releation to me is that I can get money in advance from them. I don’t care about artistic freedom I do as I want anyway.

What are your strongest likes and dislikes in Deutsch Nepal? Can you mention any achievements of your own?

The funniest thing might be to travel around playing live but also all the wierd people you meet is possitive. The worst thing is when you travel around and meet all the wierd people that is negative... I have some real bad memories from some gigs where I had to connect all the PA-system my self because the arranger of the consert didn’t know how (!). But also after some years you learn that you have to ask for everything you want, including what you think people should understand themself.

How would you describe Sweden independent scene? Do you think it differs a lot from any other in Europe or States? Is it easy to be an independent musician in Sweden? What is the main differens of Sweden from other countries in that case?

There isn’t much of a independentscene here anylonger but it start to get better as the industrial ambient scene getting bigger there is also other things starting to happen, conserts, fanzines/magazines, new labels, new groups and projects. The Swedish scene is smaller than most others, because Sweden is a very small country... but thinking of that there is more activities comparing to Germany or the States... Sweden is also a very boring country and usually that make people start up things by them selves to make it possible to live here. But it’s impossible to live from the music I make.

Then, what can you tell about your non-musical life? What is you occupation besides music?

I spend most of my time in the woods where I have a house.. drinking and raging with the animal. I have no occupation besides music.

What is the best band (artist) in the world , by your opinion?

Genocide Organ is the best live-act at this moment ...total violence Magma might be one of the best groups on record.... limbic force. But Nico is my all time favorite but now she’s on the other side..

How do you see your future? Your nearest plans and directions. How do you see yourself in 20 years from now?

I think that sometime in the future maybe in 20 years I will be dead...

Can you suggest what music people will listen in the next century? Do you beleive that some day music like yours will be more attractive for people and will have more audience?

One century is a very long time talking about music... from experiences you can see that it change very fast and the possibilities ar eternal in creating music. I think there will be other people that do totally different sounds then we do now , but have their roots in what we do today, in the same way as we have today

How do you explain the name of Deutsch Nepal and your pseudonym?

Deutsch Nepal is a title of a track on the "Wolfcity"-album of the german Hippiegroup Amon Duul II. Lina B. Doll is a very suitable pseudonym for my personallity but was founded by Roger Karmanik if I do remember right.

What question would you ask yourself within the interview? What would you answer?

Question: What is the political & religious message behind Deutsch Nepal? Answer: You tell ME!!!

How often have you get interviewed? What were the most often questions? What interviewer is the best for you?

It was more interviews like five years ago when the intrest for Deutsch Nepal started and all in all I think I got like 100 interviews and maybe answered 50 of them. The most frequent question is... What is the secret message behind Deutsch Nepal?

What can you say to your listeners in BELARUS?

Belarus Rise!!!

What do you want to add?

The metamorphose is not a special spot in time when things happen. There is only time and it’s erosion and under the surface a new kingdom dwell.

Lina B.Doll

Dmitry "Dim" Kolesnik (parazyt@usa.net)
Republic of Belarus
special for Achtung Baby!

Discographies:

* Previously released track