LANDSCAPE FANZINE 3

Landscape Fanzine Vol. 3

It took me a whole year and a few months to finish this issue. It was published on March 23rd. It’s my favourite work I’ve ever done, something very liberating for me which felt amazing at every stage of it’s creation. It’s a record of my feelings as they were happening. Inspired by love, it’s importance, relationships, lovers, friends, things I feel passionate about, different beliefs. Love, in all it’s aspects and ways of existing, represented from my own point of view. The start of something new, a heartbreak. Handwritten letters that exist for the purpose of celebrating an engagement. Some of these have nothing important left to say but they still exist. Heartfelt words that were never sent. Confessions, secrets.

Something immoral, something that is right in the eyes of everyone. It’s romantic, It’s fearless. It’s the representation of discovering new sensations and rediscovering them with much more passion than before. It’s the fire you cannot stop, otherwise it would burn you.

We have some guests. Four glasses of the sweetest white wine, please. Ron Morelli of L.I.E.S. Records was the first one to get invited. We began talking thanks to this interview and he quickly became very important to me, someone who I love and admire. Then we have two gorgeous girls called Ester Karkkainen (Himukalt) and Zofie Siege. And as I was finishing the other interviews, I asked Julien Andreas to be a part of this. That’s it. I wanted to focus on interviewing people whose work I really like, and that’s exactly what happened. You’ll have to see for yourselves what the questions are all about!

I’ve learned to live, now what?

I want to continue learning with you by my side.

The muses he so often, if so briefly, loved Adorned him with fur coats and gold earrings “They gave me the promise of a fruitful nightlife” 27 different mothers of an only child And the child is turning 28 He told me as we wandered the halls of our hotel I took notes I bought myself a new dress Became a loving mother And kept him pressed against my chest

I feel very comfortable saying that if L.I.E.S. or Ron's own musical career had never existed, I would have tried to contact him anyway. I would have tried to talk with him about whatever. I would have loved to hear what he had to say. And I'm not saying that it's not important to know about his work, but I believe there's more, since I find him to be interesting as a person too. I wish I knew as much about music as he does. I can't exactly picture the way in which we would have crossed paths, but who knows? I met all the people in my life thanks to common interests, being curious, sharing ideas and taking risks. In another life, it could have been the same. Or maybe it was the case. It didn't take me long to realize how much I enjoy paying attention to what he shares or does, everything. And by doing so I found so many things that I love with all my heart. There's always something new to be obsessed with.

No, it's not the same as with other artists that I like.

I saw this interview as a way to learn at least a bit more about his interests outside his label or whatever information you can easily find on the internet.

Stuff he has already told in other interviews.

But if we do focus on his work, I hope Ron knows how important he is. You can tell that the guy is doing his own thing and isn’t contaminated by the world around us. And he’s been doing this for so many years now. I wish we had more people like him creating in silence and doing it in an honest way.

But that's impossible. It’s not easy, and it’s the exact opposite of what we see on a daily basis. Everything is just an image. We’re surrounded by pretty pictures and meaningless bullshit that get us nowhere in life, stuff that makes us feel dead, hopeless. It’s a waste of space.

Just take a moment to imagine someone somewhere right now whose main goal is to be loved by strangers. In order to do that the person has to wake up everyday, care about what people expect to find in others, and create the

perfect bland/plastic/useless/repetitive/empty piece of crap for them to consume, to guarantee him/her/whatever a step closer to success.

Whatever this creature is doing is already contaminated. Please just take 5 seconds to think about that mental process. It’s a slow death and I personally don’t think you can easily change that mindset, that’s why we’re surrounded by horrible so called “”””””artists”””””. And it’s not gonna change any time soon. This crap is out there and you stumble upon it constantly. Not to mention the monetary aspect of all of this nonsense! I would rather die like a fucking rat before selling myself in any way. Also, who says you can’t succeed while doing honest work?

The easiest way to keep on track with your stuff, and stay true to yourself is to ignore. IGNORE. I thank Ron for being genuine, I know I’m not the only one inspired by this person. Once in a while something worthy of our time appears. And I’m so glad I found him.

LF: I've never felt so connected to something on the same level that I feel to your music. It's crazy. I love all of your five albums, but I keep coming back to Spit. What do u think that changed from those times to nowadays?

Musically and personally speaking.

RM: For me "Spit" is really for lack of better words an unfocused raw experiment. There was no expectation for me in releasing it, i just did what i did and left it as it was. Some people loved it, some hated it, but it was dead honest, I can say that. Now closing in on almost 10 years ago I do think alot has changed in all aspects of my music and the outside music world as well.

I think musically I now set out to do things in an organized focused fashion when composing an album, I also have a great deal more "technical" know how when working in the studio which is of great help. There is still total improvisation and spontaneity when working, but I do have an end goal.

For "Spit" there was no end goal except to actually do it, plain and simple.

Even if the world is simply ruined, you can always focus on your inner world and the ones you know are doing the same. And stay curious!

Our love for whatever it is that we enjoy doing from the very bottom of our hearts will save us.

The world of music is a total mess. The internet has ruined music, culture, intellectualism, critical thought and many other things plain and simple.

Very few people care about the music, its all about image, the underground gets pushed further underground and people like to associate with an image rather than truly contributing to a culture, it reminds me of Electroclash in the early-2000's really. I guess its always been this way on some level, but now its worse because its constantly shoved in your face daily. All you can do is put your head down and keep doing what you do and ignore all the bullshit as much as you can.

LF: Live shows/sets are just memories from the past. And I don't know when we will be able to enjoy them once again. Everything is uncertain. But I'm 101% sure that you got to see so many amazing bands/projects during the years. Feel free to name the shows you loved the most!

RM: For me the ones that really left a lasting impression were the shows I was going to when I was very young like 15-16 years old. Where I was from in Long Island there was a very healthy DIY hardcore and punk scene when I started going to shows in 1992. All of these were very special, it was literally tapping into a subculture that existed amongst a sea of suburban shit. You would have to do work to actually find out about the shows, nothing was handed to you.

Going to record shops, buying zines and picking up flyers and even calling info lines were critical to knowing what was going on. Once you did know what was going on then you were on the inside. There was alot of stuff happening at alternative spaces, people's basements, places like the PWAC run by Artie Phillie, a very important figure in the L.I. scene, Huntington YMCA, various VFW halls, and many many shitty hairbag bars and clubs like Hammerheadz, The Right Track Inn, and Roxy Music Hall among others.

So there wasn't one show in particular but the culmination of many that really informed me and shaped my ideas at this time.

LF: What about the ones you played? Not only as a solo artist but maybe even from earlier on. Any gig to highlight? Many friends told me that you're on their lists of favourite live sets. Lucky them.

RM: As far as djing, it's always Russia, Colombia, Sao Paulo, Japan, certain cities in America and Eastern Europe that have made lasting impressions on me as special places to play, all of the elements every time have come together to provide an environment that lets you have complete freedom to do as you feel and play as you would want to play. You can tell the people have passion and are not spoiled or jaded as they are in say a place like London, Berlin, or Paris to an extent.

Earlier on when I would tour in a band driving around America in a van those were really crazy times. Being young and reckless with no fear of anything going to really fucked up places in America those looking back were some of the craziest and most interesting gigs as it was total DIY and unstructured. This is where you really learn.

LF: And after all this time...music/your work with L.I.E.S./life itself sure did bring people closer to you. I want you to recommend me projects from people that you cherish til this day. Whenever it's something visual or just music.

Do you mean from L.I.E.S.?

Some of my favorite projects from the label are 51717, Svengalisghost, S.English, Steve Summers, Delroy Edwards, Cardinal & Nun, Beau Wanzer...among others...there are so many....

move forward and challenge myself. Also knowing that your days are always numbered so you have to make the most of it and not be lazy and get as much done as possible in a short amount of time. Certain environments and also high pressure situations are also sources of inspiration as well.

LF: But if you had to name movies/music or books...I can't help but feel curious. Give me something to indulge in.

RM: As far as books and movies...so many Looming Tower by Lawrence Wright, The Room by Hubert Selby Jr., all books by Edward Bunker, American Sniper, all Chabrol movies, Keitel movies...Fingers ect, Maniac (Joe Spinell stuff) shitty 70s-80s crime movies LF: Is there anything that you would label as extreme/violent and that you can't help but fully enjoy? Whatever comes to mind, tell me.

RM: I am not into violence or the typical nonsense or views that are used for shock value and considered "extreme". People attracted to violence are usually the most weak people in existence. I do not associate violence to being extreme. There are many ways to be extreme and exhibit or indulge in extreme thought or tendencies that are far away from the damaging stereotypes that go along with this. I'm more interested in someone who is an obsessive cleaner of their home than someone trying to shock me with their political views or gore fetishes.

Music outside of L.I.E.S. that i'm into?

Grey Wolves, all mixes from Hot Mix5 and Ron Hardy, all early chicago house productions circa 85-89, DJ Rush, Haus Arafna, Suicide, Regis, Bones Breaks, Todd Terry, Liz Torres, Terrence Dixon, Iseope Drift, Larry Heard, Boyd Jarvis, the oldies, ect...basically the same shit as everyone else....

LF: What is it that you consider to be truly inspiring? I'm not talking about movies, music, books or whatever. What is it that moves you enough to do everything you do?

RM: For me its about proving to myself i can do something and accomplish something and having a desire to always progress in what I do and try to

While marriage rates are down For those who are not naturally adept at self-expression Romance remains a consideration To maintain our unsullied appearance Providing sample love letter language Is more appropriate than touching a woman with ungloved hands You step on the ice and your name is announced There is a moment of silence Flirtatious and graceful performances But the true depth of this relationship is unknown

Ester brings us something completely new to consume. Meaningful stories.

She's the clear example that noise doesn't have to be limiting, it's not an unbreakable rule to talk about the same stuff over and over again while touching the same exploitative themes and things you would find interesting if you were a 15 year old kid who just happened to discover Faces of Death and enjoys posting pictures of real murder scenes while comfortly hiding in your mom's basement. Or a nihilistic 30 something fan of –projects I don’t even want to mention-, hiding from a debatable past and present of wrong decisions, constant failures and legal stuff. Or just someone who refuses to open up your mind to something different. No, it doesn't have to be that way. You get tired of being like that as you would get tired of anything else. Some don't, I guess that's fine too. You do you.

These works and genres can be personal too, and I believe it's 100% more interesting if you go down that path. And most importantly you're doing it from the core of yourself, kind of exorcising whatever feelings you have inside, memories or hopes for the uncertain future ahead to all of us. We already have ways to learn about other topics, if that’s what you want. It's out there.

There’s only one person I deeply love that created meaningful and interesting works while touching some of these themes. His name is Marco Corbelli, and if I’m not mistaken I think Esther likes him too.

You’re not hurting anyone by doing this kind of work. In fact, if you’re actually hurting you can ease your pain by letting it all out. I think it’s important to do something with it. Always.

This was the first interview on this zine that made me cry. It destroyed me in a positive way. Himukalt destroys me in a positive way. It feels real

because it’s real, and her work is rare for many different reasons. The girls that she puts in front of us are real people. Not strangers, but people that agreed to work with her. There's consent and I think that is so valuable, so important. I don't feel like she's exploiting anybody, but it's a feeling I get frecuently when I check out different acts from this -scene-.

Who's that girl crying? What's the story behind these pictures? I wanna know who is that beautiful half dressed girl. What is she hiding?

I thank Esther for taking the time to answer this, and helping me to be more acceptable of my sensitibity.

Do something with whatever it is that you're feeling right now. Don't keep it to yourself. Do it for your own sake.

LF: I discovered your visual work first, then your music as Himukalt. It was through one of your beautiful self portraits. Your works feels genuine, really intimate. Delicate, yet raw. It's like every image has a story behind.

Even when the image of the female body/sex related themes are kind of overdone, your work makes the difference, because it feels natural/casual.

What is it that you're trying to achieve with these images? And what is it that you try to find in other people's work?

H: i'm really happy with these descriptions of my work . i don't know if i'm trying to achieve anything specifically . i seek out images that appeal to me, and as you may know, most all of these are found images . but as you noted, there are some self-portraits, and there are some images of former lovers . and some images of models i've worked with . the female form is something that i am innately attracted to, whether that attraction is from desire or jealousy or admiration . the self-portraits speak to a different agenda, as i'm trying to sort out my own relationship to my body, and how i find it both a monstrosity and something sensual, at the same time.

i used to have a lot more self-loathing (my tits are too small, my hips nonexistent, that mole on my temple is too big to be a beauty mark), and this has been exacerbated by a whole lot of negative thinking (depression, suicidal ideation, obsessive-compulsive urges, and lots of anxiety) . seeing myself in the collages helps me deal with all of this bullshit . but the other images don't have that therapeutic aspect . what i seek through those images is the raw emotion of the moment, if the woman in the photograph is nude but in tears, there's a story behind her undress and her sadness . i don't know what that is, but i'm intrigued . if somebody looking at them gets that sense of intrigue, that's cool . if they get something else out of it, that's cool too .

LF: And what about Himukalt herself? It's been 5 years since Conditions of Acrimony was released. Did you have anything particular in mind back then that you wanted to achieve? Personally/musically speaking.

H: so i started working on himukalt in earnest in 2015 . this was after the death of someone i loved . the two of us had made a bunch of tape recordings together . nothing serious, but it was fun to record us having sex and then make our own collages out of those sounds . after she died, i took that sadness and focused into himukalt . at the same time, i was very inspired by puce mary and she spread sorrow who were doing work that i wanted to hear in noise - harsh, brutal, but from a feminine perspective . i got some gear and made that record . it was something i had to get out . i didn't think i would do another record, but then i got an invitation for a tape on angst, and it snowballed from there . i should say that there's a whole bunch of garbage that came before the final incarnation of 'conditions of acrimony' . i've used a bunch of the sex tapes throughout all of the himukalt recordings .

LF: I love all of your releases, but Sex Worker/Sex Worker II are something else. Once again you created something that feels real, and has a soul of it's own. Himukalt is not the typical noise/death industrial project with it's boring themes that I could find anywhere. You did not limit yourself to that. Would you mind telling me about the process of their creation and the story behind them?

H: so, i used to be a stripper . part of my issues with my body comes from having it so scrutinized by people (mostly men, but a few women) . i didn't have anything physically happen to me, but i do feel that i went through some trauma in that experience . don't get me wrong, there was an incredible thrill to it from time to time, but there's also a huge emotional drain and i drank too much . and i did too many drugs . i made a lot of bad choices . i mean a lot . and that's where a lot of where the rage and sadness and desire behind himukalt comes from, and now that i think of it, the collaged images and xeroxes are very much NOT that kind of porn . if i use an image of a streetwalker, it's almost always of them blankly standing there, emotionally detached . but to your question about the 'sex worker' series, i wanted to get somebody else's perspective, and it was pretty amazing , as i was able to speak with all of these women who were kind enough to share their stories . the questions i asked were wanting to address them as a whole person, with emotions, psychic distress, fears, and ambitions.

LF: I always ask for recommendations on music and such, but I decided this time to talk specifically about labels or people whose contributions you feel are needed/worth checking out nowadays. Who do you have in mind?

H: well, i love moonbeam terror's work . she makes a super amazing kind of stark, off-kilter noise. i've also been digging into the back catalogue of michael 9 / death squad . so fucking dark . so good . i also just finished and loved the book 'tears of a komsomol girl' by audrey szasz . that's a constant hallucination of a girl pursuing / being pursued by a serial killer in russia . or at least that's how i took it .

LF: Before you, all I had was Puce Mary (who I also admire lots), and a mini collection of old italian porn magazines. You've help me on the endless journey of self discovery, and made me want to work more with other girls and their images. Do you think there was someone/something specific that made you follow this path?

H: cosey fanni tutti . she was doing this back in the '70s through TG and stripping and modeling . she's a total inspiration . i also really like hannah wilke's work - she was one of the early feminists who used her own body as an object in her photographs . but those would be the bigger names for inspirations . back in 2015 or so, i joined tumblr . partly because i needed some sort of web presence for himukalt, and there was an easy way to adapt the tumblr page to make it look like a real website without having to pay for one . once i was on there, i found a huge trove of images that walked this thin line between pornography, art, and erotica . there was one artist who i discovered there named lydia lazarus . she make beautiful collages out of distressed images that originate from '60s cheesecake erotica as well as some bondage stuff . in any case, that was really inspiring to find all of these amazing images there . unfortunately, all of that has been purged and tumblr's a waste of space these days .

LF: Are you working on something new right now? Maybe isolation/the current situation helps. Maybe not. It's important to give things their time! and now we have lots.

H: i've always been a pretty socially isolated person . and initially, the pandemic proved an excuse to make a lot of work . and yeah, i did finish a lot of stuff . the sex worker book, the reissues for 'knife through the spine' and 'between my teeth,' the 'last wish' tape, and the 'septic' LP . and now, i'm finishing up another LP and my first collaborative project with harriet morgan (aka military position), called scopophilia . i also just had my first art-show in new york at other subjects . this is the same organization that published the 'sex worker' book under the alias killer dentist . so yeah, i've been busy, and there's a very long list of committed projects that i need to get through for the foreseeable future .

LF: Any memory/detail to recall from past live shows of yours?

H: like debbie jaffe (aka master / slave relationship), himukalt has not nor never will perform live . and as for details about stripping, i'll just say that my favorite song to strip to was 'walking through heaven' by chris & cosey . i never made much money to that song, but that song is just so damn dreamy .

A ritualised sequence of nocturnal bathing We are now entwined under blue neon lights Mirrored black sheeps with nothing to censor And nothing to fear After a long day wandering, tenderly holding hands His silver jewelry keeps twinkling at midnight Back to our riverbed Exploring manifestations of feminine responses He is bruised and rotten A visual catalogue of my own wishes I'm covering your face with kisses The most kissable of faces

I can't remember how I came across Julien's work. Can't remember how it was like listening to him for the first time, I just remember going back to it in an automatic way. Till this day I'm not very familiar with Gabber, Hardcore EMD or techno industrial. I mean I wish I knew more about these genres, that is why I keep searching and learning. But I keep discovering new stuff everyday, yes, and I love it. The sources and artists are endless. I think I discovered him on Instagram thanks to DJ Speedsick, he is another artist that I like. Once I started listening to Julien a little bit more and paying more attention, I got into it so fast. I consumed his music so many countless times on my own, then it became the soundtrack of many hang outs with friends (you have no idea how many times we listened to Lethal Hardcore).

One day I decided to share one of his songs and recieved multiple messages saying how cool his work is right away. There is one message that made me smile and made me reflect a little bit on how we’re all connected in some way, how easy it is to connect through music. It was from Lord Pusswhip, someone I’ve been following for about 5 years or more, telling me that Julien is one of his best friends in L.A, and that he is awesome.

I think music and what comes with it is so crazy, we don’t think about this enough. We just take it for granted, but it’s truly amazing. It has it’s negative aspects for sure like eveything else in this world, but it fills my soul just to see people I like working on their stuff, putting out new releases, creating their own labels. I like to see people being independent, working/having fun with their friends. It’s really inspiring.

I felt like doing this interview to learn more about him and I’m really happy that it happened. If I had to recommend anything from him I would suggest you to go for everything. I love everything. Felony, which has an amazing art cover, and Trust in Filth are so perfect.

I want to thank Julien for taking the time to answer this, which was really fun to do and read! I'm not sure if he has already done any interviews, but if not...I feel very privileged.

I wish him the best always!

I have no doubts about how hard it must be, but I would like to focus on the positive side of things to do a little contrast. Are there any gratifying memories/gigs/experiences you would like to recall?

JA: I have a very interesting relationship with the music industry to say the least it is filled with many snakes and opportunists. People trying to step over each other for the smallest bits of clout and attention. It is more like war-zone than an industry LOL But I digress. My favorite memories are traveling different countries to perform specifically Mexico City.

Definitely the most enchanting city I have ever had the pleasure to perform in. The people are magical and the city has a freedom unmatched with cities like New York and Los Angeles. Art is treated as something sacred and profane untouched by the commodification that a music industry usually brings to a community of artists.

LF: I really admire all the people who choose to do everything on their own/with friends. Like, creating their own labels and stuff. You see the effort, you gladly support it. Feel free to tell Me about DNA Club :o)

LF: It's my second time ever interviewing someone I don't know much about, but whose work I find to be highly interesting/ a great company.

Last year I chose Sematary Grave Man, now here we're. Made me really happy to find out about you and what you have created so far. I'm revisiting Lethal Hardcore as I write this, and I f love it. How did you get started? Where did it all begin with recording music?

JA: Thanks for choosing to interview me! I started recording music as a way to archive myself and capture the feelings of the moment kind of like a open diary for friends to enjoy initially. Before then I had many songs I was writing on guitar in high school but did not record. So many lost songs I decided to finally download ableton and fell in love with making techno and the rest is history! ;) LF: No matter who I'm talking to, everyone tells me the music industry sucks or has a negative vision of it all.

JA: DNA Club is my friends and I bringing everything together.

Everything we learned and loved about music into one place and reclaiming our values and the magic we felt that we originally set out for ourselves when we started making music and for me It is an opportunity to share this special idea with the world whether it be through the releases or the raves.

LF: And also, feel free to name the labels and artists of nowadays that you consider to be worthy of checking out! not necessarily just musicians, whoever you like. And why not...some -all time favs- and not necessarily active nowadays.

JA: Some recent labels/crews I been really into, Spektator, Cryptic Messages, Neurotek, Mala Adh, and Aemnio!

LF: Are you/have you ever been into video games? Do you feel like naming your favs?

Regardless of this situation you must be experienced on the matter, how would you describe these experiences/adventures to someone who has never been not even close to this particular scene/world? Thank you for granting me this interview!

JA: I used to be a heavy gamer recently I can never find the time to game or find any new games I like. One game that will forever be in my heart that I keep revisiting is The Elder Scrolls Morrowind. This game is just so golden to me the vision is so beautiful and even though it is old and the graphics are so primitive it really is a hallmark example of how a great vision doesn't have to compromised by limitations.

LF: What is it that you consider to be truly inspiring? Could be literally anything, anyone. I'm also really interested in finding out if there's something else, outside music/your work, that you feel passionate about.

JA: Things that I find inspiring is the human condition. The will of people as a whole to keep moving through the unknown is so moving especially in these times. Traveling the world doing art this is a constant reoccurring theme that continues to inspire me. That and my girlfriend she never ceases to fill my life with love and inspiration :3 I love you baby!

LF: Everything seems to be opening up a lil bit, at least over there right? here we remain closed. I saw you've been doing some sets in the last months.

JA: Things have been opening up slowly but surely, my crew and I have been doing shows regardless of the social distancing. We feel that raving is an innate human right. It is our church and that should not be politicized or jeprodized by the perverted politics of a government that has historically shown us they never had the best interests of the people in mind. To people curious about how these renegade events feel, it is very liberating and brings more meaning back into the ethos of rave. People don’t take it for granted anymore and are forced to think about why the government wants us to not congregate now, but always throughout the history of this country. They never wanted radicals to be together it threatens the very nature of their control so now we rave in protest at these events.

After a very intense but short-lived rain shower His naked torso strewn with blooming wounds In all his Christ-like glory Our bodies are naked, and so are our emotions I do not wish for him to be mine Burning each others wrists with a gun shaped lighter Learning how to shoot Never repressed, never guilty We held hands until we got bruised

Ah, nothing like putting together a bunch of artists that have nothing to do with one another in the same issue. And Zofie Siege comes from a totally different world. One of her songs titled “No Other Door I Felt More Like Opening” is one of the main inspirations for some of the visuals that you've seen here, involving keys and such. And it makes me think of curiosity, secrets written in ancient books that have yet to be discovered, love letters, longing for unopened doors and the unknown. Since Zofie creates a fantasy like atmosphere, it makes me think of things that are not real...like videogames! Her albums could as well work like the perfect soundtrack for old rpg games with a medieval style. And to follow up the lines that I've been tracing with words and intentions, I find her work to be totally romantic. It makes me think of fictional, theatre like scenarios. Not only because of her music or style but also some of the visual works that she's made for her magazine called Gag Reflex.

I could wear whatever dress that resembles to the ones worn by Olivia Hussey in Rome and Juliet, and gladly spend a whole day dressed like that lying in bed while listening to Gems In Dirt, dreaming of old and upcoming adventures with my beloved one.

Zofie makes me think of unreal scenarios, and I want to make them all come true…

Thanks to her for always sharing the stuff I do, taking the time to answer this and supporting me. She already owns the first two issues of the zine!

It makes me happy to know these are in good hands, probably a bookshelf somewhere in France, safely kept by her.

it's beginnings, so I'm really curious about it. Is there any passion or thing in particular that made you want to have your own magazine? following such themes and styles.

ZS: I am familiar with zine culture. I am actually from a town in France that has the biggest fanzine library/collection in Europe (it's called La Fanzinothèque) and used to buy DIY metal related fanzines when I was younger. In 2018, a friend from Australia mentioned wanting to do a zine with me and I liked the idea so much that I started brainstorming straight away. My friend was not really ready to do anything at the time so I decided to do a zine on my own and came up with Gag Reflex. This name evokes puke or blowjob, you decide, but that's the spirit.

LF: One thing that I highly appreciate about the people whose work I love is their ability to do many things at the same time, with different styles but still keeping their personal mark. It's my favourite thing. I knew you had Gag Reflex, but hearing your music was a big surprise. Do you mind explaining how did it all begin? And what is it that you consider of great inspiration for the visuals/ideas behind the music you already released?

LF: Do you have experience in designing? or have you ever considered doing it? I believe your style is perfect, just perfect. I'm always glad to go on ig and find updates from you. Like, the pictures you took to promote your music (I think these were stills from a video?), the ones with the green cape, wearing medieval-like outfits with swords. Or to be honest anything you wear. Are there any friends/brands/projects related to clothing that you would like to recommend?

ZS: Music is definitely a passion of mine. Since I am teen I have been playing music with friends or alone so it was long due that I released something of my own. I used to play metal or even shoegaze when in a band but when I play music alone I drift into something more ambient and personal. I absolutely love medieval aesthetics - think Hieronimus Bosch, Albrecht Durer or Bruegel - and the music from that time and beyond.

These times look and sound so distant from our current reality that it almost feels like it only exists in fantasy books.

LF: Is there anything/anyone in particular that you consider to be special and was brought to you by your own music?

ZS: When I first discovered dungeon synth few years ago, I loved its simplicity and its capacity to make you feel nice things, a bit like black metal. I thought I would end up making this type of music but I feel like I ended up doing something different, without realising it at first.

LF: About Gag Reflex: I don't recall reading or seeing anything related to

ZS: I design ideas, shoes, music. I am more a thinker than a doer but at some point you gotta do so the ideas exist in real life and not just in your mind. I am not sure which photos you are mentioning here because I did not use stills from a video. The story behind the green cape is that it is actually a theatre costume that was worn for the play "Anne Boleyn" by an actress that is part of the troupe Shakespeare's Globe. It was a good find because it fits me well considering it was made to measure for this actress.

I try to make accessories myself and other than that, I look online for second-hand gems (like Etsy). Also lately my friend K. (@Bellatora_) made me some cool latex pieces.

LF: Can't express how much I love When Faith Was Fair. When it came out I sent it to all of my friends who are really into Dungeon Synth. We were all really happy to find something different and with so much personality in this genre. It sounds exactly like something that could be easily used for a fantasy/adventure videogame soundtrack. What's your relationship with videogames? Do you mind naming the ones you remember enjoying?

ZS: I do not play video games anymore but I can enjoy their soundtrack.

My fav game was Soulcalibur. I just love any fighter game. I used to play the game Diablo II a lot: the incredible songs "Tristram" and "Rogue Encampment" have been following me since. The song "Secunda" from Skyrim soundtrack is very beautiful as well as "Tierras de Azafrán" from the game Blasphemous.

LF: The best part of doing interviews, for me, is when I ask for recommendations. Because I'm constantly looking for new things to watch and listen to. Not necessarily new things in terms of bands that are active nowadays or new movies, but simply new to me. And when it comes to the artists that I like, I trust their taste. So feel free to name whatever you want and I will gladly check it out!

ZS: I am going through phases and right now I am going back to Doom/Death metal bands like UNHOLY (album Rapture) and DISEMBOWELMENT (try the song Your Prophetic Throne of Ivory).

Also I love illustration so check out @Simonheller and google the "Bizarre Art of Gernot" for more fetish stuff. And everybody should watch the Swedish film "Border": very unique fantasy film that looks like it could be real. It's also a beautiful sad story.

LF: Is there something that you do not have right at this very moment of your life, but you did have at some point and would like to have it back? whatever comes to mind. Could be anything.

ZS: I would say my virginity. Life before sexuality is very different I think.

CREDITS

Models Ansho @ansh0_ // Olivia @glitch_gardens // Lydia @rot_thought // Sofía @sofkmilh // Julia @kaltsektion // Guillermina @myxomaatosis

Art and design Everything was made by me. All handmade.

Narel R. // Ruthless @nrr.esxz @landscapefanzine

Recommendations made by the author Bruno Danza @kameradschaft // Daniel @n5tz8 // @whitecourser // @xaantitoox @fixmezine // @hlaupjokul

Interviews (THANK YOU!) Ron Morelli @lies_records // Himukalt @himukalt // Julien Andreas @lightremoval // Zofie Siege @zofiesiege @ggrflx LANDSCAPE FANZINE Buenos Aires, Argentina. 23 de Marzo de 2022.