Records And Ephemera
Accou live from Boiler Merde #210
A playlist to guide through the end of history
For this day before weekend we've asked Moisture to reference some of his more inspirational finds when in need of insights during the creation of Substance.
      On the opening “The Marketplace” we are teleported to Bergsgatan at night (the track title a subtle nod towards Eden Ahbez 1960 song of the same name).
      This mix of short dramatized excerpts, performance art from Nigel Rolfe, abstract and experimental electronica and hallucination scenes from the more obscure stages of Hollywood may very well be deciphered as [...] an appendix or bibliography to the liner notes.
Whom is this Moisture?
Whom is this Moisture?
Substance has been out for some time and to celebrate this we had a brief chat with Simon Eliasson, a.k.a. as Moisture. We spoke with him about Klaus Kinski, sampling and manipulating sounds from old x-rental VHS cassettes, abandoned items found in an attic in an old apartment complex in Malmö and the mysteries of life in general.
Tell us a bit about the recording process.
Do you have any procedures that you rely on?
To begin with, I work with an extensive library of loops that I’ve built up over the years. I consider sampling to be a serious and meaningful creative method, as well as a helpful shortcut. My approach to sampling is that of respect for the source material, I never use a looped sample unless I feel that the looping itself taps into and reveals something that lies hidden in the realm of repetition. Often I layer these loops in twos or threes as the base of a track before adding instrumentation. For Substance, many of the final tracks incorporate live takes, either in the recording of loop layers or improvised overdubs played by hand.

Simon Eliasson, also known as Moisture
Simon Eliasson, also known as Moisture
Photo: Private
I find inspiration in certain contexts, like that of bedroom-produced and privately pressed music from the 80’s and 90’s. Art created in small carefree bubbles has a certain quality to it. These records often feel more intimate in a way. I try to emulate this confidence and self taught approach to music-making as I find it very liberating.
       I am also inspired by the physicality of certain works of art, be it music literature or film. Before I started collecting records, I collected VHS tapes. I’m still enamoured by these films (I was mainly into sci-fi, horror and exploitation as a teenager) but not just the films in themselves but their entanglement with their medium. The hiss, grain and colour tone of a deteriorating plastic object adds another dimension to a work.
       During the making of Substance I’ve been obsessing over William S. Burroughs and in particular his book Naked Lunch. In the book there is a connection to Malmö and an area which I frequent almost daily. These signs of synchronicity hold a great deal of importance to me, and I often rely on them as guidelines. I'm following the white rabbit so to speak.
What do you look for when researching new sounds or material for sampling?
What’s the appeal?
I often look to film for audio to use as I find this to be a good digging spot off the beaten track when it comes to sampling. I tend to revisit certain scenes to try and manipulate the audio track into something usable. Sometimes the mood of either the story or the visual aspects help to inform the development of the entire track. Also, there is a lot of unintentional “music” to a film’s audio track; not just the musical score but sound effects and location sound.
       I also use videos from my phone as sample material, or field recordings. The appeal is often connected to the concept or aesthetic I’m trying to explore.

Klaus Kinski from the Alain Fleischer film Zoo Zero, 1979
Klaus Kinski from the Alain Fleischer
film Zoo Zero, 1979.
There is a story about a lion and Klaus Kinski.
What’s your relation to Klaus Kinski?
Well Kinski is of course a unique artist that transcended a lot of boundaries. I used him for the closing track of the album because of his appearance in a 1979 film called Zoo Zero by Alain Fleischer. In the film he plays a zoo manager whose voice for some reason sounds like a vocoder, yet he never opens his mouth to speak (he only smokes). Rumor has it Kinski himself had stolen the vocoder from Peter Frampton. I was inspired by this film in making Substance due to the utter depravity it reeks of. As a film it is a pathetic failure at avant-garde cinema that is too boring to be a fun B-movie and too trashy to hold any cinematic value. To endure it in its entirety is not something I would recommend. To that effect, I found it a perfect reference point to the theme of limit experiences that I wanted to explore with this album.
There is also a sample from a cassette tape you found in an attic, can you explain how you came about this? And did you find anything else there?
I had an apartment until last year in a mismanaged house built around the turn of the century. A common tradition in this house was to discard of unwanted stuff in the attic, yard or cellar for the landlord to deal with. I would peek around the empty storage rooms regularly to see what was left behind. On one of these expeditions I found this unmarked tape. It had nothing recorded on it except for this long passage of “silence” or what you might call it. Of course silence is never really silence. This reminded me of a novella by Heinrich Böll; Murke's Collected Silences, in which a radio technician whose job it is to edit out silent parts in interviews and lectures collects these scraps and creates a patchwork of silence for his own enjoyment. I guess this tape is the first scrap in my collection. As to the question whether I found anything else up there, I think that’s a story for another time.
Substance was released on vinyl and digital
Friday 13 2020 and can be obtained here.
Interview with Nicholas Law
Substance, album artwork by Nicholas Law
Possible Motive has always been about releasing material thats not necessarily in vogue with what is currently the cool, but more about sounds that are sustainable, timeless in its own sense. Regardless of where it's from. Borderless. Embracing the opportunities of globalization (the internet) we've been fortunate to be able to work with creative people from all over our globe.
      Nicholas Law is a very talented artist from Houston Texas whose work we found to be very appropriate to visually express the hot new release Substance from Malmö based concepual artist and producer Moisture.
      Below you'll find a short interview with Nicholas. We asked him about his way of working, his inspiration and his thoughts on the current state of the world.
Please introduce yourself!
Hi! I'm a graphic artist from Buffalo, New York who currently lives in Houston, Texas. Prior to Houston, I've also worked out of Brooklyn and Berkeley for 7 years.
Do you listen to the music when you are designing album covers?
Absolutely. Often times there are discussions which take place about what the final work should be in the end, but it's the music alone which helps you understand how something should look and feel in the end. The work itself (in music or visual art of all types) is always the best communicator of these feelings which can be very difficult to put into words in a brief.
What things inspire you; or what things do you look at to find inspiration? That are not necessarily art or design related.
I wish I had more of an original answer, but music, photography, architecture, books, video games... All things which are related to the arts in one way or another. What I will say though: the things outside of typical graphic arts projects end up almost always being the most useful pieces of inspiration. Oh, and go for lots of walks and ride your bike! Go outside and get away from your desk.
Which other artists do you admire?
Koichi Sato, Kazumasa Nagai, Rinko Kawauchi, Roger Willems, Karel Martens, anything released by RVNG, Will Work for Good, Ryuichi Sakamoto, Haruomi Hosono, Liz Harris, Arthur Russel, Cocteau Twins, the Criterion Collection, Dick Bruna, Geoff McFetridge.
What's your thoughts on the current state of the world?
It's honestly a mixture of frustration, fear, and anxiety, but one of hope and feeling grateful. There is a pandemic affecting the entire world and Donald Trump is my president, whose actions are more irresponsible, selfish, and delusional than I can put into words. It's a difficult time certainly, but I also do my best to try think of the people who have helped me in difficult times, helping me cope with the world on an emotional level.
What's up next and what are you doing right now?
Right now I'm working on several freelance projects ranging from book illustrations, custom typography for other musicians and friends, plus some snowboard and skateboard graphics actually! I'm also very excited for the new Animal Crossing game to come out later this month!
Nicholas portfolio can be found here.
You can follow his creative endeavours here.
Possible Motive + Retreat Radio
Substance is out there. Last night's show on Retreat Radio was guest-hosted by us and offered a moodboard megamix of sorts. Listen here.
Substance out today!
Substance is officially out today and available world wide physically and digitally thru Bandcamp. Recorded and Produced By Moisture. Mastered by Antony Ryan at RedRedPaw. Artwork by Nicolas Law. Typography by Henrik Stelzer. Ask your local dealer to source you a copy or grab one from us.
'Lotech Quarantine' a playlist curated by Metro Riders
'Substance' Out Friday March 13 On Vinyl And Digital

Very excited to announce Malmö based producer MOISTURE and the album SUBSTANCE. Out Friday March 13 on vinyl and digital. Pre-order available from Bandcamp. First single Dozo Mood is streaming now.

The word “dozo” in Japanese is a phrase of generosity, meaning go ahead, help yourself, indulge. Coincidentally, it is also a derogatory term in Aussie and New Zeelander slang for an idiot or an act of stupidity. On the third track from the album Substance; “Dozo Mood” offers a linguistic meltdown of these two definitions in the hands of artist Moisture. The loose percussive drive ricochets into cascades of echo pierced by cartoonish flashes of farmyard fun in a drunken ode to hedonism.

Old shapes, new stories
In times when social media seems to be the best practice in how to communicate your ideas or promote your work we are now trying to something else. We're embracing the blog again. Trying to slowly disconnect our selves and pull out from the mischievous web of social media. This feed will serve you with news, recommendations, things we like, culture that inspires us, new and old, sounds and visuals. No algorithms, no payed content. Stay in touch.

Il Cartaio
Dario Argento, 2004