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An Interview with Rachael Kozak of Hecate
Posted: Sunday, April 30, 2006
By: Ilker Yücel
Editor

Rachael Kozak is one busy woman indeed. With well over 30 releases under her belt over the course of a decade, she has earned her place as the most prolific female producer in the electronic music scene. Having taken the moniker of Hecate, named after a goddess commonly associated with witchcraft and the occult, her music has sought to tear down the foundations of whatever trends currently dictate the electronic music scene, incorporating varying degrees of differing genres and sonic textures. She runs the gamut from the brutality of black metal to the nightmarish beauty of hard ambient to the pummeling force of power noise and all points in between, forever transgressing all categories to create an audio landscape all her own. Besides Hecate, she has produced music under several other pseudonyms (including Lynn Powderhorn and Raquel De Grimstone), and is the mastermind behind Zhark International, a D.I.Y. European-based label that seeks to plunge humanity further into the void of hard and dark electronic music. Her last CD release, The Seven Veils of Silence, presented a concept based around the story of Salome and the beheading of John the Baptist, invoking Middle Eastern timbres and arrangements, and possessing qualities of both the sexual and the supernatural. On the eve of her impending release, Brew Hideous, Kozak took some time to speak with ReGen about her music, her connection with the dark arts, and a even little bit about her cooking.

Kozak: Greetings!

Greetings to you. My first question, I guess, is to ask about your last full-length CD release, which was The Seven Veils of Silence (if I'm not mistaken).

Kozak: Yes, that's correct.

What is the significance of the album title, and how does it relate to the themes presented in the music?

Kozak: In a lot of occult literature, there are allusions to veils. I think this image of a veil can symbolize many different aspects of the personality, the uncovering of the mystery of the human on all levels. Usually, veils carry the connotation of belonging to a woman, so I worked with this concept, visually invoking Salome and her dance for John the Baptist's beheading. This immediately draws my mind to veils, but so does the descent of Inanna in Sumerian mythology.

I actually had read in another interview that the concept surrounding the album had to do with Salome, so I didn't want to go into that out of fear of redundancy. But it's interesting that you mention the veils carrying a connotation of belonging to a woman. Is that the reason behind the Egyptian or Arabic themes behind some of the tracks? Like in 'Desert Capture,' 'Nest of Vipers,' and 'Houris Hours,' they seem to carry a strong Egyptian/Arabic vibe.

Kozak: Yes, I really worked with more Eastern-influenced tones and samples in that album. It just seemed like the most natural way to place myself in that space. When I am in the middle of an album, or even just a track, I really dive into it somehow... It is utter escapism, yet still productive and creative.

What initially led you to explore the story of Salome on the album? And how did you approach incorporating these Eastern elements into your brand of harsh electronics?

Kozak: I was prompted both by the Oscar Wilde play and the Ken Russell film, Salome's Last Dance. I didn't approach it; I just did it. It really wasn't an issue for me.

The last album, Ascension Chamber, contained more live instruments than are traditionally heard in your music. Did you continue to explore the use of live instruments on The Seven Veils of Silence? How do you find working with live instruments compares to working with synthesis and electronics?

Kozak: I did work with some live instruments on The Seven Veils…, but not as much as on Ascension Chamber. Actually, I was going to grab some sounds off of someone I knew who records live musicians in Morocco, and when I called he informed me that he had converted to Islam and he had to go to the mosque during certain times. Needless to say, I resorted to savaging Papiro's record collection for these Eastern sounds, and I also did a bunch of live noise and some vocals on that album. I usually take a few days during an album to record my friend Papiro (who played on Ascension Chamber) and work on his synths, or scream, fuck around with guitars and all.

You also released the 12", Wholesale Massacre of All Identifiable Replicas, last year. How would you say this release expanded on the themes explored on The Seven Veils of Silence? Which is more representative of the direction you feel your music is taking?

Kozak: The only connection it would have is that it is a story of a woman, but in this place it is myself. I didn't have to construct any fantasy environments to make that record. Neither are representative of the direction my music is taking. My music is always changing, depending on my mood and the situation in my life. One thing always remains, and that's the darkness. If I had to make the same kind of records all of the time, I would feel trapped, which is the last way I want to feel about music, and the process of making it.

I will say that this track you just sent me, 'Trial By Ordeal,' is some of the loudest and harshest music I've heard, black metal or electronic.

Kozak: Ever or from me?

Both.

Kozak: Excellent!

So, actually on the subject of darkness somewhat...your Hecate moniker is named after a goddess commonly associated with witchcraft. As your music possesses many occultish themes and elements, what do you see as the connection between the musical and the supernatural? Do you ever find yourself experiencing supernatural occurrences in your life and/or your music?

Kozak: Music can evoke any type of mood or feeling, which is why it was used so prominently in just about every religion known to man. Personally, I feel that the deepest or most mysterious feelings are the darker ones. Yes, I have had countless supernatural experiences; in fact, that is just a part of my daily life usually.

Can you give an example? Or would that be too personal?

Kozak: I would rather leave that to the listeners to decide for themselves. I don't think I am even that cryptic about most things. If I was just to look at my own discography from a distance, I could see it like a story unfolding. Maybe that's too abstract, but there is really no point to repeating 'spooky' or 'unexplainable' stories to your readers.

I think I see what you mean. So, besides Hecate, you're also the head of Zhark International. How do you balance your time between running a label and producing your own music without losing your sense of inspiration and ideas? Which do you enjoy more?

Kozak: I will tell you there is nothing more fulfilling than releasing artists that you really support and admire. This is a wonderful experience that I would never trade for anything. There is real freedom in running Zhark, creatively for sure. Business can always be a bit of a bitch, and so can 'scenes' in any sense of the word. Zhark has always just pushed to release the darkest electronic experiments and fucked up beats, and that will never change. Dealing with the time between my music and the label is hard, especially since that involves traveling and playing shows as well. Basically, I slowed down Zhark a bit this year because of the fact that it was so active the past few years and I really didn't get time to make much music. There are many plans and things going on under the silence. Right now I am working towards more of the label restructuring now that I finally finished my new album.

I was actually wondering about that since from what I've seen it looks like Zhark was a bit inactive for the past few months or so. So you're also known for your collaborations with your label mates like Slutmachine and Abelcain, and other well-known artists like Venetian Snares and Lustmord, having released remixes and split albums/EPs with them. How do you distinguish working on your own material with your collaborations? Is there a difference in mindset or the way you approach writing the music?

Kozak: The only collaboration that I had to really change my mindset for was Nymphomatriarch. That was obviously due to the fact that we had to hear our own fucking twisted and mutilated over and over again.

I still have yet to hear that album, but having listened to Aaron's music and some of yours, I can imagine. You've been known to travel quite a bit and have lately settled in Basel, Switzerland. What is it about a place like Switzerland that appeals to you as a person, and how has living there influenced you and your music?

Kozak: Basel had given me the chance to really be able to make music without too many distractions. Usually, I lived in large cities like London, New York, or Berlin, and I never found the time or space to be this productive. Swiss people are generally reserved, or they don't want to get too close too fast. It took me awhile to establish good friends here, but it was worth it. That doesn't help the fact that after a few weeks without traveling somewhere, I start to feel claustrophobic. Besides that, I don't know if it really affects my music; maybe my mindset, but living anywhere affects your mind, and not necessarily your music. I do get the chance to be more Hermetic here though, so that must have some effect on my overall output.

So, according to the Zhark Web site, for the Summer of Smoke EP, 'you never know when this will be out!' What can you tell us about this release, and why so cryptic a statement on the time of its release?

Kozak: Well, let's just say about every eight months I get an e-mail saying that it is coming out...this has been happening for like five years now. It's the running joke at home.

About your new album...you said that it's going to be released on Sublight Records, correct?

Kozak: Yes, Sublight CD and Hymen 12".

Is Treachery the title of the new album?

Kozak: No, Brew Hideous is the album. Treachery is my project with Slutmachine and Abelcain, which will be the first NOX release, a picture disc 12".

Aah, okay. So is Treachery still in the writing/recording phase?

Kozak: Yes, the Treachery debut is almost completed. I just need to lay some more guttural grievances down on 'Bound in Your Entrails' and layer some stuff over the ambient track.

Is there a release date set for Brew Hideous? How do you feel it compares to your previous output? What sort of surprises can your fans expect from the new album?

Kozak: The release date for Brew Hideous is now moved to April 26th, if I recall correctly. Surprises, well it depends on what they come into the album expecting. Some might be surprised by the ambiance and noise, and some by the vocals or guitars, but if one decides to listen to my music based on the desire of hearing menacing sounds, they will not be surprised by anything.

Is there an underlying concept to Brew Hideous like on The Seven Veils of Silence?

Kozak: Basically, working through the entire concept of the genocide of witches through the ages, all mixed in with many factors and inspirations. A brew, a boiling mess of miserable topics...that and Nunsploitation flicks. It's less structured than The Seven Veils…, however by the time I finished it, it could be looked at as another chronological 'story' if you will. I always happen to fall into that mode of creating my records like journeys or sagas.

As you've been called 'the most prolific female in electronic music,' and having had a prolific career for anyone in music over the course of a decade, what sort of advice would you give to today's up and coming musicians?

Kozak: Just keep doing your own thing and fuck trying to fit into categories! It's a tough world, but it is in any business. No matter what the problems I have had, as long as I know that I put everything I can into my sound and it gets out to people, then it has been worth it. And please women, if you read this, could you step it up a bit!

Amen to that. Rachael, thank you very much for taking the time to allow me to InterView you. I'm sorry it took so long, and I hope you found it as enjoyable as I did. Talking to you has made me even more enthusiastic to check out more of your music, especially your new releases Brew Hideous and Treachery.

Kozak: Wicked thanks!