The Oscillation means: “
movement back and forth in a regular rhythm;” and to me this is definitely/ partly the case. It all plays to a climax of sound, time, and rapport, and it builds and builds up until some line is drawn between words and rhythm; and a current is created, like a droid that is harnessing something cosmetic and waved-synthesized towards it's listeners. I don’t pretend to understand what I see; I base what I see on what I feel (factual) and not basing it on personal opinion. They are touring extensively, and have had 3 other studio albums critically acclaimed and praised which shows the band are gathering good support from what they are creating.

 A newbie like me may become aware of their influences that reflect from Pink Floyd, The Stooges, Electric Prunes, The Banshee’s, and as I mentioned before: ‘The Cure.’ They are using formats like vinyl, digital, and online, to gather more followers to their sound and it seems to be doing the trick. I proved to myself that I can sit through music that doesn’t always make sense to me, but still had a mind of its own within another mind that differs from mine. I say, “Be open, you might be surprised because ‘The OSCILLIATION’ do speak to many listeners and this interview shows that the band have plenty to say.

 C: For those who have never heard of ‘The Oscillation’ could you take us back a few years and tell us your development from 2006?

 There has been a lot of perseverance to make the kind of albums I want to make without compromising. I started off signing to DC Recordings but before that in 2005 that I was signed to quite a well-known label that basically refused to release anything I did. After a year they let me go and some tracks were picked up by Static Caravan and following from that I got some interest from DC for a couple of albums.

The first album was kind of an experiment in producing something quite influenced by Loop and Liquid Liquid and some sort of "shoe-gazing" vibe but done in a clubby kind of way.

It's moved on quite a lot from that first album, just trying to incorporate different influences brought more to the fore although it's essentially the same melting pot with different things stirred up to the surface.

I've tried to develop the song writing and atmosphere/production of each album so that it's evolving in some forward direction. I want each album to feel like a journey from the last, albeit with no real destination, just more psychobabble and black holes.

C: Which bands have been the most influential to your music?

 The Cure, The Deviants, Spacemen 3, Loop, Siouxsie And The Banshees, early Pink Floyd, The Electric Prunes, The Stooges, The Stranglers, Popol Vuh, Klaus Schulze, Tangerine Dream, P.I.L… that's probably the most obvious stuff!

C: You've been active since 2006 and have been through at least three record labels the fourth now being 'Hands in the Dark', how has that affected the band, your music, decisions and production of albums and videos?

 After the first album on DC, it wasn't as much of a success as was hoped by the label and me. While working on the 2nd album things got a bit weird, in that I really wanted to move on musically and also it coincided with that really difficult time for labels who were struggling to adapt to the changes that were happening and were suffering financially around 2007-2009. I think those years were the same for a lot of labels and musicians. It was hard to see how to move forward for everyone.

 The only option left after leaving DC was to self-release which I did with the help and guidance of Tom Relleen from the band. I really didn't have a clue at that stage so it started from his impetus but I've been learning along the way. It's been very D.I.Y all the way. It was very liberating to self-release, as you don't have any obligation to meet the expectations of a company expecting you to do more of the same or evolve according to a certain viewpoint.

It's cool to just decide what you want to do and find a way to do it in some way/any way possible, including things like getting friends to do abstract art videos because there's no point trying to make things fit onto MTV or whatever.

 A lot of very refreshing labels have appeared over the last few years who operate in a different way like Hands In The Dark, Fuzz Club, Cardinal Fuzz, Rocket Recordings (to name just a few) who are very open minded and putting out a load of music that people need to hear.

 I've tried to always make music according to what I feel at the time or whatever I want to do. Hands In The Dark are very open minded and just release music that they love, so they have the same attitude. There's no A&R, it was just a case of making a complete (or near complete) record and seeing if they liked it, and luckily they did which was just as well and am very grateful for that. It never ceases to amaze me that people actually buy the records or come to the shows, you can't take that for granted!

 C:   ‘Monographic’ your latest album as a follow up to From Tomorrow’ is slightly hailed as your “most complete work” do you believe this album renders that clearly amongst your older pieces of work and why?

 I don't know I was really happy with it until I got it mastered and then I just kept finding faults with it to the point where I really don't want to hear it!  

On the Other hand I'm pretty happy with some of the songs and the way they are produced. I think it's a definite progression from the last album, that's all I can really say. It seem quite far away from 'Out of Phase' the first album, but that's the way I like things to be.

 C: What does ‘The ‘Monographic’ albums signify in 2016? Take us through the process of this album? What songs were chosen (etc.)

 It's a bit of a "fuck you" to this structured society and all the media and politicians collaborating to try and programme us to become brain dead. It's a theme that seems to be shared by quite a few other bands I've noticed which is reassuring. Also the album is quite self-analytical/critical and a "fuck you" to the way and myself I think/feel/react to life etc.

I wanted to write about everyday feelings and emotions that occur as a result of life and it's difficult journey but also about broader things as they seem to be now for humans in a way that I hope other people will relate to.

I'm interested to try changing the way we think, and evolve but it's an ongoing thing isn't it? It's a challenge to question yourself and question why we react the way

We do not just do everyday things but also to our environment and the weird Ballardian/John Carpenter "They Live"/1984 world that was predicted a while ago.

 C: Correct me if I’m wrong but I feel the Oscillation is more instrumentalism then lyricism, is this analysis right?

 I do really like lyrics; I just have an ongoing problem with (my) vocals. I've always liked a lot of music where the vocal is another sound like in Loop or MBV.

I put loads of time into writing lyrics that really mean something, but then end up mixing the vocal quite low as it always sounds too loud to me.

I don't consider myself to be a "real" or particularly good singer so that's probably why, but I still like to try and vocalize anyway ha ha.

If I listen to The Deviants or The Stranglers I love their vocals being upfront but I find it hard to do myself.

C:  It’s 2016 and you’ve been touring and promoting your new album, how has this been going?

 It's been going great. We had quite an intense March/April starting with London all the way to Hungary and back and then around Switzerland.

We've met loads of great people and other bands and lots of cool promoters thanks to our great booking agent and all round heroes at Julie Tippex.

 C:   What’s next in store for you Demian? More productions, new albums, tour, what’s next in line? 

 The touring is quieting down now apart from some key festivals like Eindhoven Pychlab, Liverpool Psychefest and the like.

It's going to be quite busy for everyone in the band. We all have other things going on. Tom and Valentina have just finished an amazing new Tomaga album, which is due for release in the autumn (I'm not sure if I'm allowed to say on what label yet) as well as another E.Ps on a different label. Cathy who plays keyboards has a band called Vanishing Twin, which includes Valentina. They also have a great record coming out on Soundway (home of Fumaca Preta).

I should have an ambient feedback solo album coming out in the autumn too all going well, that's nearly done.

 I'm currently talking to a label in Germany about a new Oscillation album which will be more collaborative with the band and am hoping to start recording that in September too with the help of a producer for the first time ever. I can't give anything away about that just yet but should be really exciting if it comes together, plus some other projects in the pipeline, including a follow-up album for a project called Booze with my friend Milo.

Another more abstract thing is collaboration with Julian Hand who does the videos. We went to Callanish in Scotland last year and did some filming and recording there which was a pretty mad trip, I'm hoping we can put together some kind of LP/DVD/booklet kind of package for that but think that will take a while still!

There's a fair bit happening I guess, just a matter of finding the focus and making it all fit together.




You can purchase the album here: