I recently cruised along Nac/Hut Report newly created label Double-Hallucinative to find the following description: “Disgusting music for disgusting times. All the rats will cry.”
Hello. Let’s go.
Nac/Hut Report is a Polish/Italian duo which was built in 2008 during a casual meeting in Cracow between art student Brigitte Roussel and factory worker Luca aka Li/ese/LI.
Finding their research bland and “too conventional” at first, the duo will undergo small transformations and a lot of destroyed material to finally radiate in “concrete musique” – a system of sound recorded in situ transformed and layered in a form of a sound collage, legacy of French composer Pierre Schaeffer’s.
As the name comes from a fusion between the tittle of a German porno movie “Nacht Report” and “Nachhut” also German but for rearguard they describe their latest album Angel-like Contraction Reverse as creature-like as a Hans Bellmer’s Doll or “something alive. Something weird, deformed and fragile. A sad little monster moving painfully.”
Interestingly I disagree. There was something moving and I was,like the protagonist in the Caspar Friedrich painting, a wanderer standing above a sea of black bile, staring through the doomed, ghostly vocals of Brigitte Roussel and a howling wind of looped screeching guitars. Like a Romantic opus, I understood that the duo thrived in the macabre undertones of spooky and dizzying atmosphere.
Now settled in Reggio Emilia, a place they describe as a “boring industrial city in the north of Italy”, Nac/hut Report will favor a “grotesque, illogical sense of reality” grounded in Polish culture and literature: Jerzy Pilch, Dorota Maslowska or poet Marcin Świetlicki for the lyrics, Nac/Hut Report emphasizes to dissociate from cold, static music preferring something “highly intense and dynamic.” Adding to their latest album a lot of material such as pedals, loop stations, harmonists and effects, they intended to “put these ideas about sound in the structure of a “normal” song, using noises to create the basic tone’s sequences for a minimal composition (usually 2-3 tones, never more than 4), and then adding vocals and guitars as separate layers.”
I have caught up with the pair. Ladies first.
Brigitte Roussel: I’m 24 years old. I was born and grew up in Poznan, Poland, where I also attended high school and University. During the years of my adolescence I took also a lot of courses related to art, theater and painting, but for many reasons I chose to study history. It was the wrong decision and after few semesters I left the University and decided to start studying and working on art, becoming a self-taught artist ‘cause I didn’t like institutions very much.
The Viennese Actionists are a great source of inspiration for me, I find their works very strong and very expressive and these are elements which are very important in art for me. I think it’s quite strong and symbolical, in a subliminal way, because it recalls our primal fears, repulsions and curiosities.
I also paint, they are a bit different from the kind of images I make in the video. I often work with many different materials and sometimes they become almost sculpture-paintings. I create them from anything that could be a support for a painting: plastic bottles, paper bags, pieces of clothes.
Do you really think the world is a horrible place?
Well, I don’t know if the world is a horrible place, surely the times we live feel horrible. To refer to the quote I surely think that these are disgusting times for music, there’s a lot of good stuff but there’s a few space and interest for it, but on the other hand maybe it was always like this, who knows. Then, beside art and culture I don’t find myself well in the regime of capitalism, bombed by the media propaganda, of course somebody could say that if you want you can stay out of this but I don’t see it that easy, for me it’s more like a virus that is spreading all around; you’re in the middle of this or you have to suffer the effects of this, like people in the countries that have nothing to do with the western culture but have to suffer the imperialism of capitalism, maybe it’s true in the end I believe that the world is a horrible place.
Like most of artists, I started working on art because its language was more communicative for me than any other thing and I found a way to understand the others through this medium.
I think inspiration is more a matter of an accumulation of impulses and spurs that ferment inside you and then arrives the moment when you have to throw it out in some way.