Scott Rozell, aka STERILEPRAYER, is a noise/goth/industrial producer, who used to drum for Pacific NW punk bands including Moral Crux, Green Jelly and Scatterbox. He is now releasing his full-length debut on April 24th via Blackhouse Records (The Accused A.D., Throneburner), and today we’re pleased to give you the first hearing of his eerie single “Arch”, featuring Blake Harrison (Pig Destroyer, Hatebeak), extending the line of great collaborations embedded into this record, including Eugene S. Robinson of Oxbow, Jay Gambit (Crowhurst), and legendary French experimental composer Philippe Petit.
Scott commented on the new track:
“I remember seeing Blake’s name from old Hatebeak and Triac releases, which were awesome. Later when he joined Pig Destroyer, it was pretty interesting to see the dynamic he brought to the music. It made me even more of a Pig Destroyer fan than I already was. He was always someone I had in mind to approach for a collaboration on something after hearing what he was doing with PD when it comes to samples and electronics.”
“When I first contacted him, Pig Destroyer were pretty busy and they may have been finishing up a tour if memory serves me correct(?). I sent him tracks and basically said ‘no rush, whichever of these catch your ear the most, feel free to add any layers to it that you see fit.’ I wanted to leave it completely open for everyone involved to do whatever they wanted, so there was basically no direction other than ‘something chaotic’. That was most important because it made the end result way more awesome than I could have imagined. The ambient and atmospheric layering was there, and Blake’s inclusion of harsh media sampling and noise clips really completed ‘Arch’, where it may have lacked a lot of dynamic otherwise.”
Rozell composes the music of Sterileprayer using a combination of midi and live instruments. He reveals that:
“the bulk of it was pieced together with various old keyboards I was able to track down over the years, along with a bunch of interface platforms and pedals. I did have to go out to various places to record random noises happening outside (construction sites, traffic, and so on) to get more tones/sounds that I wanted for layering. Beyond that was my fender telecaster guitar and Ludwig drum kit.” The results he says is “very cathartic, dark, harsh and beautiful.”
