As I'm getting old (and I will retire some day), I wanted to interview some people that had an influence on me (and whom I couldn't interview yet). One of the is Cedric Wattergniaux. When he asked me to review some of his material I didn't doubt, however it's not really my cup of tea. Now it's time to look back and also talk about his project: Kilmarth.
If I remember well we met during gigs and parties in the past. If my memory is good, we even interviewed the same band together somewhere in Brussels? What do you remember exactly?
We often ran into each other in various places in Belgium in the late '90s. I remember meeting you for the first time at a Nekromantik concert in Brussels. We did the interview together. It was in a very small venue near the Théâtre de la Monnaie. It was a typical concert for that time. I remember I had a lot of work during that period and had drunk a bit too much energy drink. :-D
I remember you told me you are a teacher and one of the things that struck me is that you used the first album from Das Ich during your lessons?
I teach French, history, and drama at a secondary school. During my internships in the mid-90s, I frequently attended concerts and festivals. It was an integral part of my life. At that time, I was an intern at a secondary school in Rixensart (Belgium), and I was giving a lesson on written description. I had brought a large photo of Stefan Ackerman that I had taken at a concert and showed it to my students. They were all fascinated by this strange character. They absolutely wanted to listen to the music of this group, and on my last day, I organized a small exclusive listening session of Das Ich for 13-year-old students. It was a lot of fun!
For those who don’t know this band, can you elaborate it a bit?
Das Ich is a German band from the early 90s. True pioneers of Neue Deutsche Todeskunst, alongside Relatives Menschsein and Goethes Erben, they were particularly influential at the time. Although their presence is less marked today, their stage performances were remarkable. I still love listening to albums like “Die Propheten”, “Staub”, or “Egodram”. The production was exceptional, and Stefan’s voice and lyrics were unique. Bruno Kramm, responsible for the music, is also the founder of the Danse Macabre label, which hosted many great bands from that era, such as Relatives Menschsein, Endraum, Placebo Effect, etc
You worked in the past for Side-Line (just like me), what was the first interview/article you had to work on?
I don’t remember at all the first article I had to write for Side-Line. At the time, I was writing for an American fanzine called Shadowzine or something like that. I wasn’t too satisfied with what I was doing. I had been following the scene for a long time and was an avid reader of Side-Line. One day, at a Depeche Mode concert, I recognized Seba Dolimont and went to talk to him. We exchanged addresses and I naturally started writing for them.
If you look back what was the coolest thing you did for Side-Line?
Being part of Side-Line was an extraordinary adventure. I met so many people: journalists, label owners, artists, musical activists, etc. And above all, I met Seba (who is one of my best friends), Stef (an amazing person), Bernard (one cannot remain indifferent to his charms), Benoît (a super nice and very talented guy), etc. We scoured concerts and festivals together. As Bernard said in a recent interview, we were truly a band of brothers having fun while engaging in an incredible hobby: meeting our dream artists, talking to them, writing articles, discovering talents that were still hidden at that time. It was a wonderful era, that of our youth, where we were tireless, where everything was possible.
Some memories… I remember Séba’s improbable sandwiches during festivals, a Side-Line ping-pong tournament at Stef’s when he lived near me in Waterloo, the milk reserves in Bernard’s old Peugeot, Benoît’s incredible comic book collection in his beautiful little Bauhaus-style house, an amazing Die Form concert (where I met Bernard and Len for the first time), a bowling game with John (Internal) and Séba. I also remember a day when I was DJing for the Dour festival and I recall seeing Eskil Simonsson (Covenant), dressed as usual in an impeccable suit, giving an excellent concert and then wandering around with his pants rolled up in the mud, a bottle of champagne in hand :-D. I also remember wonderful encounters and extremely interesting discussions with Mesh, Goethes Erben, Das Ich, Claus from Plastic Noise Experience, Sven Friedrich (Dreadful Shadows at the time), Florian Schäfer (Noyce TM), Marvin Arkham (The Merry Thoughts), and an emotional interview with Sopor Aeternus.
More recently you started up your own project? From where did that sudden burst come?
I have always wanted to make music, ever since I was very young. I have always listened to a lot of music; it is an integral part of my life. Shortly after the birth of my son in 2005, I decided it was time to stop dreaming and get serious about it. I took music theory lessons, learned classical guitar, and that was it. I bought my first synthesizer on eBay and took a few courses to learn the basics of Cubase. Since then, I have never stopped experimenting and learning, by reading, watching videos, and asking questions.
In 2017, I had a burnout, and that’s when music became even more evident to me. I would get up early in the morning and create until the evening. I sent my experiments to my family and friends (poor Séba :-D). That was the real start of Kilmarth. I met wonderful people who published my tracks on compilations (Alfa Matrix, Kalamine Records, People Can Listen, Mahorka, Nierika, etc.). I then released my first mini EP in 2017, followed by other productions. It has become an activity that I love at all levels (composition, production, artwork, promotion, etc.).
I have seen the other side of the coin, the greed of some magazines that force artists to pay for advertisements in exchange for reviews, and the false promises of some labels. I understand that money is needed to operate, but this kind of practice is contrary to the very ethics of journalism. That said, I remember this artist who pressured Side-Line because he didn’t like the review I had written about his album at the time. I really liked this artist. He doubly disappointed me that time, for his album and for his attitude. Money corrupts everything…
You even got help from Stéphane who worked on the covers for the singles and who also got a go for the upcoming album. What can you tell about it (mix it with his reaction from my interview with him, please)?
Stef is a person I appreciate a lot. He has a frank and sincere side that can sometimes be blunt, but he is a wonderful person—honest, cultured, and competent. I have always enjoyed talking about various topics with him. I know he has been drawn to art for a very long time, so I wasn’t surprised when he embarked on this adventure. I immediately connected with his creations. They reminded me of Françoise Duvivier’s work, with that gloomy and disturbing aspect that challenges sensitivities. I suggested he work on my new album, and the concept of cherophobia intrigued him. And here we are… I am very happy with the result!
Why did you choose to call your project Kilmarth? What does this name mean for you?
Kilmarth is a place located in England. It is the home of the author Daphne Du Maurier, where she spent the last years of her life. This house is described in her book “The House on the Strand”, from which the name Kilmarth comes. This book is one of my favourites. It literally captivated me with its blend of darkness, mystery, time travel, and enigmatic characters. It is a unique novel. I found that it described my relationship with music very well, and that is why I chose it
So far you also worked with some other artists: Mad Mac & Signalstoerung. How was it to work with them?
I started my collaborations with a few remixes for Aengeldust, Aiboforcen, D-Fried, Suicidal Romance, Reactor7X, Firnwald, and Optionica, and I enjoyed it a lot. I then invited Blessing Daniel, a Nigerian singer who sang on my first album. I also collaborated with Jacky Kolajka, who creates many advertisements and audiobooks in Germany, as well as with Silly Shadow, who makes anime and has an incredible voice. There is also Alexander from Optionica and Arsène L, my oldest friend, who played the saxophone on an EP. As for Mad Mac, I met him online. Mad Mac is a great guy with an extraordinary feeling and voice. I also met Ro from Adventurous Music and Signalstoerung online. He is a truly complete artist, and I have a lot of respect for what he does.
Will there be more artists contributing to the new album too?
Yes, there will be voices from Dryft Dystopia, Vanessa, Erisseie, and other surprises, I hope…
Do you intend to work with Len Lemeire too? He’s a very talented guy who’s also very much into electronic music?
Len is a talented and passionate person. I had never considered collaborating with him, but I will add him to my list. It remains to be seen if he is interested in working with me. 😁
What will be the main story behind the new album?
The concept of the album revolves around cherophobia, the irrational fear that prevents some people from fully experiencing happiness. It is the constant fear that something bad will happen at any moment
So far I mostly described the music as a mix between J-M Jarre, Tricky & Massive Attack. What do you think of it?
To be honest, I’m not a big fan of Jarre. I like a few of his tracks, but that’s about it (even though I did a cover that I never published, by the way). My musical influences are very numerous. They come from pioneers like Depeche Mode, The Cure, Autechre, Dead Can Dance, Massive Attack, Billie Holiday, Mnemonic, Kraftwerk, Front 242, Recoil, Daniel Myer, as well as from dark jazz, IDM, synthpop, industrial music, classical music, abstract music, dark ambient, EBM, darkwave, blues, post-punk, future garage, gothic rock, trip-hop, and even medieval and experimental music. To be honest, beyond music, anything can inspire me.
You are not looking for a record company, why not?
I think I am a control freak. I also enjoy taking care of all aspects related to music, whether it’s marketing, visuals, etc. That said, I like to collaborate from time to time…
What can we expect from the future (next to the new album)?
I have finished an album with my friend Jordi from D-Fried. It was a great experience. It will be released in early 2025.
Will you play gigs or is this only a studio project?
I’m not sure I have the necessary resources to create a live show for Kilmarth as I envision it. For now, Kilmarth remains a studio project
What are your students saying about it?
I don’t often talk about this part of my life with my students. To be honest, I don’t discuss my project much with people around me, whether in my private or professional life
What’s your view on the fact that nowadays you just need a PC and some cheap stuff and you can record anything, whilst in the past you needed gear, a studio etc? Resulting in an overflow of artists getting bigger then the demand?
Music has become more accessible, allowing creative individuals with limited resources to achieve their dreams. I think this is a good thing. Some might say there is too much quantity over quality. I believe we need to listen with a critical ear, just like in the good old days of demo tapes
is it hard to get noticed?
It is evident that democratization has its downside. It is very difficult to get noticed. I don’t make music to earn money. I do it primarily because it is my passion, and I have an insatiable need to create. I don’t compose my music wondering if it will please people or not. I create and publish what I like. However, it must be admitted that it is pleasant to share one’s creations and receive positive feedback
What’s the most recent gig you went to?
The last concert I attended was IAMX in Lille. I really enjoyed it. Chris Corner is a complete and uncompromising artist, an attitude I greatly admire. However, I found the sound level a bit too loud for my taste. I think I’m getting old… 😁
Will you go to one of the last gigs of Front 242?
Our greatest national pride! They marked my teenage years, and it touches me that they are stopping their concerts. On the other hand, it might be a good idea to do it now. Unfortunately, I don’t have a ticket, but who knows? I would love to be there to thank them for everything they have given us over all these years.
As you are French speaking, what do you think of this artist: ZAHO DE SAGAZAN? She’s really huge in France and has put one feet in Belgium.
I’ve noticed that people have been talking about her a lot lately, but I haven’t had the chance to investigate it yet.
Is there something you always wanted to ask me, but somehow never did?
Which concert has left the greatest impression on you in your entire life, and why?
Filip: OK, I’ll answer to that one, however there are many (for example my very first one was David Bowie in 1990, The Cure at The Beach for the location, Iggy Pop at Dour for the energy, Nick Cave at Pukkelpop in the 90's, Erato in Ieper (when they still had a singer who called himself Boot aka Frank Thielemans, what a voice, what passionated, honest and talented guy) the first gig of Das Ich I saw for the energy and the whole setting and dark and scary feeling I got, Ordo Rosarius Equilibrio (ORE) for the same thing and with Nico on stage …), Red Zebra at KK VUB, any God's Bow/ Evig Natt/Front 242 gig, but the one that really touched me deeply was the pre-covid-19 gig by Siglo XX. The way it all went, the energy, the lyrics, the passion, the whole thing … In my review I wrote: now I can die. That says enough, right? Tom Van Troyen is also the right guy in the front (just sad they called it a day, he could also replace Nick Cave with his voice, btw), but at least I saw them and they played the right songs too. On a side-note: when I saw Pommelien Thijs on stage at Vestrock I cried a bit, became emotional and also got deeply touched, so hard to drop one name/gig. All these names also show I have a wide and wild taste of music and had some great time.
A last conclusion for this interview?
This may seem naïve to many but make the most of life and those who are dear to you. Also, don’t hesitate to think about yourself. Don’t neglect yourself in any way.
Something to share with the fans?
I want to thank you very much for your feedback and for the interest you have in my project. Every message warms my heart…
reviews:
SNOOZECONTROL - Kilmarth – Radical Entropy (self-released)
SNOOZECONTROL - Kilmarth – Son of the Moon (self-released)
Related interviews:
SNOOZECONTROL - Stéphane Froidcoeur (Nebula-H, Side-Line, Mixed Media Collage ontwerper, ...)
SNOOZECONTROL - Interview met Bernard Van Isacker (A. Matrix & Side-Line Music Magazine)
