Your name and age, name of any co-collaborators, birthplace and present location.
COMPACTOR is not a person, it is a series of interconnected machinery run by the Worker. The Worker's background details are confidential.
How long have you been doing your project?
The Worker began operating COMPACTOR on 10.18.11.
Has your music evolved since you first started? How?
The sounds made by COMPACTOR change according to the machinery available to the Worker. At first the tools were only Digital. As the Worker began to do Live Shifts, Analog machinery was added.
What are the main themes or topics for your work?
The dehumanization of the Worker, the detritus of society, and the goal of destroying or repurposing it. It's best if the Worker's emotions do not enter into the work. However, there is always a margin of error in this.
Describe your music/art. How do you describe your music to people?
COMPACTOR outputs noise and rhythms that may resemble those in society, whether on the Dance floor or the Factory floor. It depends on the quality of work on any given shift. Sometimes there are glitches, and that affects the output.
What music did you grow up listening to? Who are your influences in general, musically and artistically?
WASTE MANAGEMENT endorses the output of Non, Merzbow, Throbbing Gristle, Venetian Snares, Godflesh, and Theologian, among others. The listening tastes of the Worker are irrelevant.
What got you into making harsh noise/glitch in the first place?
The Worker's application cited frustration with his other projects and a need to produce work at a faster rate. He had some noise experience, and had excellent references from Bryin Dall and Genesis P-Orridge, as well as part-time work at Share.NYC.
Are your sounds deliberately composed, is your work abstract, or a combination of both? Do you rehearse or plan your performance in any way, either in your heads, on paper or in a studio, or do you just wing it when it comes to performing and recording?
COMPACTOR's recorded output is more ordered, while the Live Shifts are less structured.
Could you briefly describe you music-making process?
That information falls under Trade Secrets.
Where do you record? Do you have a home studio setup?
Most of the recorded output is processed and repurposed on an older model Laptop. The newer ones are not cost-effective to WASTE MANAGEMENT.
Recordings are captured at our facility, during subway travel, or during Live Shifts.
Are you prolific?
The Worker was especially prolific in recorded output at first, but as there have been more Live Shifts, that has slowed down. Fortunately, portions of Live shifts are usually also disseminated on the internet.
Are you constantly cranking out new stuff or does it take time to get it right and done?
A chief goal of WASTE MANAGEMENT is efficiency, so processing ideally takes as short amount of time as possible. The earliest Documents the Worker recorded were complete in a day or two. Because of Live Shifts the recorded output has slowed somewhat, but the Worker puts in overtime on mobile equipment to catch up.
Are your live performances structured in any way or are they freeform?
The Worker starts Live Shifts with several approved structures, but often deviates in terms of the duration of each structure, the processing applied, and additional elements. There are also the variables of equipment malfuction or user error.
What can you tell me about your instruments? What made you choose the particular pedals/effects/instruments you have now? Any other favorite pedals or music items you're into? Anything you're looking to acquire?
COMPACTOR uses technology mostly considered "Obsolete" by others. WASTE MANAGMENT strives to stay efficient by using whatever is available, or acquiring used equipment at discount rates. There are always new technologies, but most aren't cost-effective.
Where have you performed? What are your favorite and least favorite venues? Most embarrassing experience? Most excellent?
To date, COMPACTOR has done Live Shifts at 12 locations in New York. The Worker reported the most satisfactory conditions at The Acheron and Saint Vitus. He does not complain about bad experiences or equipment, which is what makes him a good Worker.
Are you involved in any other groups or projects that you'd like to mention? Where do you live now? Do you have a day job? What is it?
Have any hobbies like stamp collecting or knitting? Do you play any other instruments?
The Worker's activities outside of COMPACTOR are not the concern of WASTE MANAGEMENT. However, an internet search may turn up some of these other activities.
Do you collect anything or are you a minimalist?
The reference archives of WASTE MANAGEMENT contain a fair amount of limited edition physical recorded output from the likes of COLD MEAT INDUSTRY, SLAUGHTER PRODUCTIONS, ANT-ZEN, HOSPITAL PRODUCTIONS, and similar corporations.
What's your favorite food of all time?
The Worker requests Ovo-Lacto-Pesce-Vegetarian food during designated meal breaks.
Computers or what?
The Laptop supplied by WASTE MANAGEMENT is a Black Macbook running Windows XP.
What was the last book you read?
The Worker does not have time to read, he is constantly working.
What are you currently listening to that you're really into?
During recent designated breaks, WASTE MANAGEMENT has had THEOLOGIAN "Finding Comfort In Overwhelming Negativity" in heavy rotation.
Do you watch TV or listen to the radio at all? Any favorite shows or broadcasts?
DARKSTEP.ORG is the default radio station, it increases motivation and productivity. Television is a waste of time thats slows mental processes and productivity.
Where do you go to discover new sounds/music?
Usually HEAVEN STREET RECORDS for physical output, BEATPORT for digital.
Been to any good shows lately?
Field research was recently conducted during SUNNO))) + WINTER, ALEXANDER HACKE + PHARMAKON, WORK/DEATH, the ENDE TYMES FESTIVAL, and several events produced by BARCORE and ANNIHILVS POWER ELECTRONIX, who have both supervised COMPACTOR Live Shifts. WASTE MANAGEMENT produced a night of Live Shifts that included BELIEVER/LAW and ISA CHRIST, who both have very good work ethics and above standard sonic output.
Describe a day in the life.
The Worker works digitally while travelling, works at a facility, has a meal break in the middle, again works while travelling, and goes home or works overtime. Sometimes he does field research at the previously-mentioned events.
What does your family think of your art and do they support you? Do they have any idea what you do or what your project sounds like?
WASTE MANAGEMENT keeps Family life entirely separate from the workplace. Ideally, Workers would not have families, as they often create conflicts with work.
Any advice for people who are starting out creating music/noise/art?
Keep producing. You are constantly adding to the waste of this planet. Waste is our business, and business is good.
Any upcoming shows? New recordings? Projects?
Material has been submitted to ANNIHILVS for a COMPACTOR/THEOLOGIAN split as part of a series packaged in black trash bags (something WASTE MANAGEMENT fully endorses). Work is proceeding on a collaboration release with DEADMOTHS. a COMPACTOR recording has been licensed to OUT-OF-BODY RECORDS called "DESENSITIZATION REPROCESSING" that is being released in 10.12. WASTE MANAGEMENT is also producing a Special Limited Edition COMPACTOR release in time for the Live Shift at the HALLOWEEN INDUSTRIAL FESTIVAL in Providence, Rhode Island on 11.04.12.
Any parting words or pearls of wisdom you'd like to share with whoever's reading this interview?
Work is its own reward.
PHOTO CREDIT: COMPACTOR Live Shift 09.15.12, Documented by Syluss Forté
http://compactor.bandcamp.com
http://tiny.cc/compactorvideo
http://compactornoise.tumblr.com/
http://www.faceboook.com/compactornoise