Into The Memory Void
Updated: Feb 22, 2020
We spoke to New York's Niche-Appeal about the influences behind our "lacerating and bravely avant sounds", meeting PJ Harvey, working with Rob Ellis, the Jewish Museum Berlin and more.
Words and interview by Tina Romano.
Does a genre of art resonate with your aesthetic? I feel that minimalist deconstruction vibe.
We are minimal in our instrumentation and visual presentation. Our stage set up is the two of us in black, with only a drum kit and amp set at an angle. Before recording the album Ros visited Berlin’s stunning Jewish Museum designed by Daniel Libeskind with its striking empty concrete “voids” built into the architecture. In the memory void, ‘Shalekhet (Fallen Leaves)’ by Menashe Kadishman, 10,000 faces of open mouths cut from iron lie on the ground and echo as you tread over them. Art that makes you think in it’s empty spaces.
Also expressive, visceral art like German Expressionism. Ros also visited Die Brucke museum in Berlin. There is a comment on society and a visceral impact in the work of Kirchner, Francis Bacon, Egon Shiele. Tracey Emin and her early work with its personal female perspective. ‘My Bed’ is the most rock ’n’ roll artwork of the 90’s to equal PJ Harvey. This was a scene from her life at the time but the woman for once is not lying on the bed but out of the frame considering what she sees. Yoko Ono’s ‘Cut Piece’ where she had sat on the floor fully dressed and invited the audience to cut off her clothes with scissors.
Read the whole interview here: