Weasel Walter is arguably the most intriguing composer alive. His demented symphonies of chaos stand as the West’s only answer to the apocalyptic cacophony of Space Streakings, Boredoms, and so forth.
Revenge is the album which cemented him as the natural heir to John Zorn: Witness, for instance, the absurdly harrowing climax of Mercury Retrograde. It’s Pointed Stick Variations, however, that stands as his supreme masterpiece. Released on The Flying Luttenbachers’ 1997 album Gods Of Chaos, t’s a spastic and nihilistic culmination of what The Velvet Underground were attempting to achieve with Sister Ray and what Glenn Branca attempted with his guitar symphonies. The Truth Is A Fucking Lie successfully incorporated violin and mellotron, but the nihilistic freakouts of earlier albums were sorely missed. His later albums marked a return to absurdity — see for instance the classical-grindcore fusion of Rise Of The Iridescent Behemoth. He also began collaborating with a number of important experimental musicians (Lydia Lunch perhaps being the most notable). He also contributed guitar to the upcoming self-titled album from John Dwyers‘ new ensemble Chime Oblivion. He communicated with me from Europe, where he is touring with the Luttenbachers.
1 | Pointed Stick Variations is one of the most intense pieces of music ever recorded. How did you attain the absurd density of sound?
We are currently on the road, so I have to replay it in my head, but I recall the production being very overdrive and the focus was on the repetitive riffs and horrendous solo. The album is about the apocalypse, so that was the subtext.
2 | Who is naively introducing the band at the start of the piece?
The guy that introduced Gods of Chaos was Adam Laats, a guy I played in a Mötley Crüe tribute band with. He came to a Saint Louis gig in 1997 and trolled us. The other two guys didn’t realize I knew him already. Bill Pisarri grabbed his tape recorder and had him do that.
3 | How “dictatorial” are you as a bandleader / composer — are the players given free rein to improvise? Does it vary from project to project?
I don’t consider myself a dictator, but I am the bandleader and it’s mainly my vision, although I try to allow people freedom to express themselves within the ethos. Improvisation happens. When we play live, mistakes happen and we roll with it. Primarily, the band is about expressing compositions right now, although all three players are heavily involved in free improvisation outside the band. I direct the band towards whatever goals I think are suited towards my interests and the group’s abilities. Sometimes I change band members when my concepts change.
4 | How did Hal Russell feel about the band name?
The name was a throwaway joke that stuck. When Hal left the group he didn’t love me keeping his name for it, but so it goes. It is a non sequitur, nothing more.
5 | In retrospect, which of your compositions do you see as the weakest?
I’m not too concerned with what my weakest composition is. I do think my writing has grown stronger over time, but this question is like asking a child what their worst drawing is. Life is a process which can involve striving for improvement. Sitting around worrying about missteps is a waste of time.
6 | Which of your compositions is the greatest?
I am proud of a lot of my compositions, but I have written so many, it’s difficult to give an answer. They all served their purposes. As far as complexity goes, Rise Of The Iridescent Behemoth takes the prize.
7 | Where do you rank yourself on a list of greatest rock drummers? And/or a list of greatest rock composers?
I don’t rate myself on lists. My drumming was always functional, to express my concepts. I’m not hung up about being regarded for it. It’s just something I do/did. If people like it, great. I think I am a pretty good composer. I am not terribly impressed by much current music outside of death metal, frankly. A lot of other people’s music just sounds like crude gibberish to me.
8 | Which of your many collaborations stands out to you as being particularly successful? Who among your collaborators was the most intriguing to work with?
I’ve worked with so many people, but generally it is a momentary situation, so the highpoints just show up here and there. I have been in many great bands: The Flying Luttenbachers, Lake Of Dracula, XBXRX, Lydia Lunch Retrovirus, Cellular Chaos, etc. Every project found peaks at some point. I am proud of my career as an improviser, playing with hundreds of singular musicians. Playing with Evan Parker and Roscoe Mitchell were big for me. I’m always searching for my next avenues of expression and collaborations.
I am not sure the people who listen to my work are part of any specific demographic or subcultures. We are not part of a scene or movement and I don’t feel like we have many direct peers. I suppose the people who found this band are intrepid and open to challenging sonics and structures. The work is of a consistent quality, so we have maintained a lot of hardcore supporters. I don’t know how to publicize this band. I have limits to my ability to fuck around on social media. I am not interested in following dumb status quo idiocy to get likes or any of that bullshit.
I don’t know who will remember what at any point. I don’t really care. Branca was an influence and friend at one point. I’m not so familiar with this other guy. He seems to write derivative comedy or kitsch music, so he’s probably more of a Spike Jones or something. So far I haven’t really been part of any hierarchy where my compositional skills are appreciated by academia or wider exposure, so I don’t forsee any great accolades coming. I work at street level. I’m not so interested in positioning and social games. I think my compositions are intelligent. If anybody else sees that, I’m glad.
11 | You understand life. Most people do not. What is your advice to the human species?
I understand some stuff. I guess I’m not so into conformity, so I try to use critical thinking, when I can muster it. I think the human race is a lost cause and my influence is almost ineffectual. Have a nice day!
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Brett Abrahamsen is a lifelong connoisseur of the experimental and obscure. He is also a science fiction writer (and an amateur philosopher of sorts). He resides in Saratoga Springs, N.Y.
