A few words about the new release:

Some say: the artists is worth as much as his/her last release... do you agree?

Sal Ocin: You could see one's latest work as the most mature, so in that way, there's some truth in it. On the other hand I think the evolution of the artist, which in my opinion is applicable to most of artistic ways of expressions, is very important. Even if some pieces of music or even complete releases are that eclectic compared to others, they're all part of an "oeuvre". When I discover a new musician, writer, film director or plastic artist by his/her latest work, the first thing I do is searching for as much as possible previous creations of him/her.

Could you tell a bit about your album "The hatred of Trees"?

Sal Ocin: I started to work on it much later then expected. I was working on the ep with Nick Grey and the Tzolk'in cd, which were at that moment the first priorities. Also when I started working on the the cd, I really took my time. I didn't wanted to put too much pressure on the process. Anyway, I'm very satisfied with this album, as I experienced a lot of intens emotions during the making of it. Compared to composing the previous cd "error 404", I composed the tracks with a specific theme or concept in mind. So not abstract music, which enables you to be "free" of interpretation while listening to it. Now, on he other hand, I direct the listener more into a specific and more concrete visual or conceptual theme. Which was a complete different way of working.

What does the title stand for?

Sal Ocin: The hatred of trees is all about what trees do to you while looking at them, being amongst them, smelling and hearing them in different seasons and hour of the day or night. Also the region were they are. The different kinds of trees and the state they are in (dead or alive). I've been touched by these emotions so many times and each time, I have this mythic, threatening and weird impression of them. So that was the first idea I started working on, the tracks that followed, have been made in the same way.

In what way were you inspired by H. Murakami prose?

Sal Ocin: His work has been an huge influence for this album. I think it influenced the complete album. I even dare to say that I will inspire me for the rest of my live as musician! Reading his books have such a massive impact on me. I also believe the concept of Empusae and interpretation of its music is very analog to his work. Actually I see his books as a different medium of reaching the same goal. Letting people dream away. He uses many recognisable aspect of human behaviour and situations and put these into a wave surrealism. Which can be described as strange, somethimes dark, somethimes beautiful but always dreamlike situations. I never thought I would encounter such an analog experience other than music... an experience I try to create with Empusae.

Passing on to general inqs:-:)

Do you often take inspiration from literature? If so - what kind of books do you read?

Sal Ocin: Literature is very prominent as an influence in my music. Just like movies. Especially fiction, which is was Empusae is all about; creating a soundtrack linked to a certain or incertain story or situation. I create music to let people dream away and let their fantasies taking over.
I try to be as eclectic as possible but once I start to read one piece of work of a writer which I like, I find myself reading his/her complete oeuvre, until there's nothing left to read. I don't really read a specific genre. A few names though, which is important for me to mention, are F. Herbert, H. Murakami, P. Verhelst, Compte de l'autréamont, Ch. Baudelaire, G. Bataille...

What is the way a new piece comes out? Is it more individual thing or rather a result of kinda 'brainstorming'?:-)

Sal Ocin: It really depends on the track, the moment and the concept I'm working on. Sometimes I start composing a melody, a rhythm or a soundscape, just as a pure audio experience. Sometimes I start composing around a theme or idea. So no delimited formula here...

What kind of equipment do you use?

Sal Ocin: Various electronic instruments. (hardware synths, softsynths, electronic drums, samples and loads of effect modules - hardware and software). I also try to integrate as much as possible acoustic instruments, like local and ethnic percussion instruments, as much as all kinds of "melodic" instruments. I like to experiment with all kinds of unconventional sounds and field recordings by sampling them and manipulate with effects afterwards).

You never use any vocal parts in your music. Why is that so?

Sal Ocin: Empusae is an instrumental project. For me it is the better way to compose a soundtrack. If I would integrate vocals parts in it, it wouldn't have the effect I want to reach at all. On the other hand, I like to use spoken words from time to time. Samples from movies as much as recordings from people which I invite into my studio.

What, in fact, is the better way of passing emotions or thoughts: words, images or sounds?

Sal Ocin: For my own expressions obviously, it would be sounds. On the other hands, when it's about receiving and capturing emotions from other people, all of them are as much important to me.

What do you think is the effect your music has upon the audience?

Sal Ocin: I can only hope that the effect is the one I try to accomplish. Which is the line you can find on my website and myspace profile: ,,soundtrack to stimulate your darkest fantasies". The music is made to put the listener in a dreamy state of mind. What I heard from a lot of listeners, is that they see very personal images (like a movie) in their head. The fascinating thing is that these images can be completely different for every individual and also from the images I have while composing the music.

What kind of music do you listen to? Do other artists inspire you in any way?

Sal Ocin: I listen to all kind of music. As long as I can detect a soul, an experiment or a concept in it, I might like it. The thing is that I really need to feel a certain atmosphere in it. These can be found in all kinds, styles and periods of musical history.

Now, talking about your other releases and projects:

Why, do you think, there are so many collaborations among industrial artists? You yourself are the mastermind of Empusae, also play in Tzok'in, This Morn' Omina...

Sal Ocin: I don't know about other artists but for me it is something that keeps me intensely busy when I discover a new artist I like. When I hear a certain connection with my music, I get hooked by the idea to make music with them. In case I think it might be possible, I contact them and propose a collaboration. I think I will do that more often in the future...

In what way is Tzolk'in different from Empusae? Where did the idea to start Tzolk'in come from?

Sal Ocin: Tzolk'in is not similar to Empusae (except for some musical analogies). But the concept we work on is based on the Mayan mythology and the music directly inspired from it. Of course the result is 50% Empusae and 50% Flint Glass. The idea came from the fact that Gwenn and I are both into mythologies of all kind of cultures. The Mayan being an unique and particularly rich, we decided to work around that theme. The result was very satisfying for both releases.

Where did your interest in Maya mythology (or in mythology in general) come from?

Sal Ocin: The interest started with the ancient greek mythology when I was very young. And it never stopped, later on I discovered the pre-comubian, the eastern and of course the other european mythologies. Every mythology has it's own caracteristics and also their similarities. All have their dark sides, their gods and human moralities. Very rich sources of inspirations.

Trying to decipher the titles of the pieces of both "Haab" and ""error 404: metaphorical loss" I had greater problems with the latter one. What do they mean?

Sal Ocin: The titles of "error 404" have no specific meaning at all. That is what the concept of the album was about. The reason why I used "error 404", which stands for a 'bad' or not existing link on the internet, is that there is no link to a certain subject for this release.
Which also explains the loss of metaphors on the CD. The music was composed without any specific subject, I didn't want to narrow the listener into a certain direction. It is the listener's task to use his/her imagination to create images for the soundtrack I made. The tracks are based on the atmosphere of the sounds, melodies and structures. Giving the tracks meaningful words would mislead the music and destroy the idea behind it. The way I created the titles was by searching for words with no meaning but that fits with the mood of the tracks when reading them or speaking them out.

Do you think your music evolves with every subsequent album?

Sal Ocin: At least I hope it does. Otherwise I would repeat myself, which is one of my fears concerning Empusae. Maybe the fact that I do so much collaborations, might partly be because of that. Anyway, the way of working, concept and inspirations varies from album to album. The next full album might sound completely different, using completely different techniques, but the essence of the project will always be the same, at least under Empusae's name.

Could you tell a bit about your co-operation with Nick Grey?

Sal Ocin: I knew his work thru his EMPI project on Brume Records and on his album ,,thieves among thorns". I really liked his work and his way of experiment with vocals and all kind of instruments. He is such a talented musician that I couldn't resist to propose a collaboration. Which was a truly unique experience. Although we differ musicalwise, we had the same idea about the aim of the music we wanted to compose. We're both enthusiastic for doing that over again... if time gives us a chance!

How did it happen you became a live member of Ah Cama-Sotz?

Sal Ocin: Herman knew I was playing percussions with This Morn' Omina. So he asked me do play with him at some live performances. The first try-out went very well and we decided to do that over with every show where it is possible to be two persons on stage. I guess he was looking for some extra dynamics and sounds on stage, being alone on stage all the time.

And the live shows:

As to the live-shows, do you prepare long for a performance? What's the importance of visual parts in it?

Sal Ocin: The preparation for a show varies with every show. I try never to do the same show twice. It also depends who joins me on stage. Whether it is Spike (live percussions, also for TMO) and/or my wife (spoken words, singing and sound manipulations). The visual part used to take a prominent role at live shows. I used 8mm projections combined with dia projections. That was ok for small, dark clubs but not for bigger venues. The problem now is that I don't master the techniques to work on visuals myself. Also because the music is different with every gig, I don't have the time of working on them. On the other hand, I'm open to anyone which might be interested in doing visuals for my shows. Which only can enhance the athmosfears of the concert.

Are there any other events you're going to take part in in the nearest future? Is there any event you'd particularly like to play at?

Sal Ocin: I'll be playing at the Gothic festival in Waregem (Belgium) the 26th of july. After that I'll do a very special show at the 10th anniversary of Maschinenfest in Krefeld (Germany) the first week-end of October. The only thing I will say about it is that the show will feature a lot of my best musical friends on stage! The next one is at Wroclaw Industrial Fest in November.

And one more question: you're going to play at Wroclaw Industrial Festival in November... this will be your first show in Poland ...have you heard of the Fest before and what are your expectations concerning that show?

Sal Ocin: I heard only good thing about that festival, so I'm really looking forward playing there (as Empusae as well as TMO). When I look at the line-up of the previous editions, it can only be an excellent festival! I'm sure we all have a hell of a time, we'll all break a leg ;i) !!!

Thank you for your time and see you!

Sal Ocin: Thank YOU for this pleasant interview!