ass slapping.. you know?







731 nymphomatriarch (hecate & venetian snares). cd. may2k3.


tracklist cd:

blood on the rope
hymen tramp choir

download pressrelease 1 .pdf
download pressrelease 2 .pdf

all pieces were assembled in winnipeg, canada by aaron funk and rachael kozak. may 1st - may 13th 2002. every sound was synthesized from their privately recorded debaucharies committed while on tour in london [england], paris [france], basel [switzerland], antwerp [belgium] and winnipeg [canada]

hecate’s rachael kozak has a thing with collaborations. she paired up earlier this year with lustmord’s brian williams on law of the battle of conquest, a visceral, percussive revision of lustmord’s drone aesthetic. now she’s shacking up with venetian snares’ aaron funk. literally. nymphomatriarch, a joint project between venetian snares and hecate, is 100% composed of sounds the duo made having sex together.

but it’s not porno music. nymphomatriarch is cutting-edge drill beats and raucous noise that puts your ears in a vice. the tempestuous breaks venetian snares is known for spiral down to the very pits of hell and back thanks to hecate’s visceral atmospheric treatments, returning as mordant sound meant to corrode the soul.

nymphomatriarch bristles with the crisp signature of traditional breakcore dynamics, yet unlike many albums in the genre, nymphomatriarch retains a sense of complex ambient sound and depth throughout its six tracks - this isn’t just another manic break record composed entirely on a hard drive. in other words, it’s everything you’d expect from a collaboration between venetian snares and hecate. nymphomatriarch just happens to be made from sex sounds.

like matmos or ming + fs, nymphomatriarch manipulates conventional found sound into musical themes. but unlike matmos, who recorded plastic surgery sounds for their album a chance to cut is a chance to cure, or ming + fs sampling car doors, windshield wipers, and slamming trunks to produce music for a nissan commercial, nymphomatriarch employs the noise of anal and oral sex, straightforward copulation, “microphone insertion” and other privately recorded debaucheries committed while venetian snares and hecate were on tour together in europe and canada last year.

those snapping high-hats running throughout “blood on the rope?” ass slaps torqued and looped like madness. the whizzing black noise of “input” and “outlet?” zippers ripping open and clothes flying off. the fiendish cries and murky ambience overshadowing “amaurophilia” and “hymen tramp choir?” just think about it for a second…

or maybe not, suggests kozak when asked about the inevitable hype building up around nymphomatriarch.

“at this point i don't care how or what people think of the album, we made it for ourselves really, a kind of personal investigation,” she says. “obviously people get hung up on the idea of it, but i think when they actually listen to the record it will be another story.”



soyons honnêtes, dès les premières rumeurs qui en firent l'écho le concept de nymphomatriarch sentait le déjà-vu, et ce malgré la crédibilité musicale de ses deux protagonistes, rachael kozak (hecate) et aaron funk (venetian snares). le couple avait en effet décidé, il y a déjà au moins un an de cela, d'enregistrer ses ébats sexuels de manière à en faire un disque, ce qui valu à venetian snares d'être sans doute le premier artiste hymen à avoir droit de cité dans playboy !
le nombre de projets musicaux ayant eu recours à ce genre de samples doit se compter sur les doigts de cent mains, mais autant d'originalité n'a pas eu l'air de rebuter le duo. il faut dire que la particularité de cet album vient du fait que tous les sons "proviennent" directement (!) de deux musiciens hors pair, contrairement aux samples anonymes de la foultitude de projets ayant déjà exploité cette idée, et qu'au résultat, il est souvent impossible de distinguer l'origine de la plupart d'entre eux. car c'est là que l'exercice devient vraiment intéressant, puisque chaque son a été modifié pour devenir une percussion, un sifflement, une corde... qui pourraient tout aussi bien provenir de n'importe laquelle des compositions de nos deux chantres du breakcore. à part quelques samples bien choisis et des titres aussi évocateurs que pervs ou blood on the rope, les lecteurs de playboy risquent d'être déçus... certains morceaux ressemblent à du venetian snares pur jus, d'autres rappellent le récent projet de hecate avec lustmord et l'atmosphère des films d'horreur que rachael kozak affectionne tant, surtout sur le très long morceau hymen tramp choir. bref "nymphomatriarch" est bien parti pour devenir, au moins dans sa conception, le disque le plus chaud de l'année ! (carole jay)




the creative process that resulted in nymphomatriarch is unavoidably eye-catching - venetian snares and hecate had sex, recorded it, and made an album. it's easy to be skeptical about the artistic necessity of projects like this, at least in terms of their presentation on a public scale. however, the premise in this case is far too juicy to be written off without being given a chance. as jaded as our popular culture has made us, nymphomatriarch leaves reign in blood-era slayer sounding tame and innocent, and that alone merits at least one listen. hecate is rachael kozak, who first began composing dark electronic music in the mid-'90s and has adhered to a die-hard diy attitude ever since. she has released music on zod, praxis, and primarily her own zhark records, which she founded in 1996. last year saw the release of hecate's first full-length, the magick of female ejaculation which displayed her penchant for creepy atmospherics and pounding, heavily distorted breaks. the obscenely prolific venetian snares, a.k.a. aaron funk, has put forth far too many releases at far too alarming a rate for any but the truly obsessed to keep track of, on labels such as planet-mu, hymen and isolate. in the last year or two he has grown into an international superstar on the post-jungle/breakcore scene (not exactly selling out arenas yet, but give him time). his superhuman release schedule has drawn him a good deal of attention, but his reputation owes most of its weight to his creative touch with faster-than-jungle jungle breaks, as well as his obsessively detailed and exceptionally dynamic compositional style. the premise of nymphomatriarch is hard to ignore. the question is whether or not it can hold up beyond mere voyeuristic novelty, and intellectually speaking there is definitely some interesting material lurking beneath the triple-x camp exterior. unlike pornography, which objectifies people (read: women) and dulls the sexual imagination, the music on nymphomatriarch does just the opposite. sex is transformed and glorified through the imagination (that this is a collaborative effort is especially important to this point), and the end result is a sound world that stands on its own and yet is not alienated from its source. there are no images, thus no bodies to objectify. the track title "amaurophelia" seems to play on this - the word can't be found in webster's, but it probably refers to blindness as a mode of erotic fantasy. perhaps it is a bit of inside information regarding one of the music's creators, but the word applies at least as much to the listener. musically, nymphomatriarch is six tracks and a delightful 35 minutes. though not much attention seems to have been paid to song structure, most of the music on nymphomatriarch points towards a very clear sense of purpose (explain). all the sounds are crafted to fall within a well-articulated and coherent sonic vision, and the sheer number of different sounds used is impressive to say the least (again, explain). the album opens with the short, ambient "input", wittily associating hardware cable connections and sexual penetration: it is a new-age synth tone with a slimy underbelly, chasing its tail around delay effects through empty space. the sense of unnerving isolation on "input" establishes a relentless eeriness that underpins the entire album. the percussive possibilities of sex are surprisingly vast. "blood on the rope" bristles with trademark venetian snares beats - awesomely fast, delightfully syncopated, hard, crisp, and programmed in 10/8 time. only in this case the hits sound less like amen snares than bare skin smacking against skin. providing sonic (and erotic) juxtaposition to the staccato percussion assault, breathy vocalizations dart out of the empty spaces, their tonal characteristics heavily emphasized, while a dirty bass tone oozes slowly along the bottom following no fixed pattern. the production is quite subtle in many cases, creating a surrealist dream world that is drastically alien, yet never totally unrecognizable. like "blood on the rope", "amaurophelia" and "pervs" reflect venetian snares' compulsive efforts to work outside of 4/4 time. "amaurophelia" resonates with the sound of bodily fluids, sticky flesh and natural lubrication, a dubby bassline and a beat that sounds like top 40 r&b in 14/8. all the beats ring of violence, but "pervs" is especially sadistic. a brief early pause in the rhythmic onslaught is punctuated by a mumbling male voice asking, "am i torturing you?" the question gets no answer before the pummeling beat breaks loose again, interspersed this time not with breathy 'oh's' but startled grunts and groans that walk a line between pleasure and pain. the beat drops out for some time and the album's only real dialogue appears in the mix. the male voice returns, asking, "does that hurt?" this time a female voice replies, "yes." the fine line is very apparent, taboo is ruthlessly taunted - the male voice asks, "are you having a hard time with that?" to which the female voice answers with a "no" that devolves into thick laughter before the final, most hair-raisingly brutal percussion assault elicits cries of truly alarming pain. a sense of retaliatory cultural violence is essential to the breakcore scene, but the violence present on nymphomatriarch is of a far more personal sort, the vulnerable humanity of its object amplified by the unshakable control and mechanical precision of the syncopated beats and sub-bass resonances. this is no conceptual violence - whereas much breakcore applies distortion to the drums (and everything else for that matter) to convey its sense of hostile abandon, it is vastly more unnerving to know that the beats rattling your speakers this time around are made from actual recorded collisions of flesh. "hymen tramp choir," stretching out at the heart of the album, is 14 minutes of haunting beatless ambience. it is certainly a surprising inclusion, in that it comprises nearly half the music on nymphomatriarch, and if you are the sort of listener who wants the product to be focused, honed, and refined, with all unnecessary baggage left on the hard drive, you'll probably find this particular selection a little off-putting. however, it would be my guess that no one who knowingly purchases this album is easily put off by anything. in exchange for a bit of patience, "hymen tramp choir" vividly conjures a shadowy demon's lair filled with unearthly gurgles and a mournful distant cry that may be a victim or may be the beast itself. unfortunately, patience wears thin on repeated listening - my strongest criticism is that the album would feel less like a document, albeit a highly involved one, and more like a fully realized work of art if this sort of extended, absorbing ambience had been woven into the beat-driven tracks rather than left as one huge slab lying in their midst. for fans of hecate or venetian snares, nymphomatriarch is not to be missed. the first few listens are guaranteed to enthrall, especially for those who are beginning to want a change of pace from distortion, distortion, and more distortion. beyond the shock value of those first few listens, there are indeed more rewards to be had here - though the compositional structures themselves seem to have gotten short shrift, the source material makes for some of the most surreal listening of recent memory on a purely sonic level, and the beats are hot enough to stop you in your tracks the moment they kick in. if, on the other hand, you are entirely new to the world of post-jungle speed breaks and are unfamiliar with both hecate and venetian snares, nymphomatriarch would make for the most bizarre introduction imaginable to the world of two already bizarre musicians. but who knows, that might be fun too. (jesse serrins)

axess code

nymphomatriarch , projet commun d'aaron funk (venetian snares ) et rachael kozak (hecate) se présente comme un assemblage sonore des frasques de nos deux breakcoreux libidineux enregistrées lors de leur tournée commune, mêlé à de nouvelles compositions break / ambient dont eux seuls ont le secret … un artwork très soigné, une durée plutôt réduite (36 mins) pour un ensemble de 6 titres à la fois variés et originaux. 01.input, introduction toute en finesse, à grand coups de panoramiques saccadées et de synthés envoûtants ouvre l'opus, le calme avant la tempête. 02.blood on the rope nous fait entrer dans le vif du sujet, les samples très explicites des gémissements de miss hecate ponctuent les rythmiques chaotiques d'aaron funk , pure furie breakcore agrémentée ça et là d'échantillons de claques et fessées , laissant imaginer l'ambiance survoltée des soirées de nos deux virtuoses lubriques. 03.amaurophilia poursuit dans une veine plus expérimentale, toujours instable et hachée, les samples deviennent plus subtils, et, de par leur traitement pitch , reverb , delay) s'inscrivent de manière plus précise et construite dans le paysage sonore explorant une fois de plus les constructions dark / breakbeat et expérimentales propres au duo. 04.hyman tramp choir développe l'aspect ambient du disque, rappelant sur certains aspects les compositions d'ambre, voix lointaines et mystérieuses, les samples utilisés deviennent quasi méconnaissables et s'insinuent au cœur même de l'harmonique pour constituer un bloc de 14 minutes à la fois malsain, oppressant et sexuel ! 05.pervs : l'accalmie fait finalement place à un nouveau déchaînement rythmique, des cris, des gémissement , des rires, des bribes de dialogues enflammés pour accompagner un fracas sonore anarchique et sauvage évoquant bien sûr venetian snares et hecate mais aussi le meilleur de squaremeter ou d'amon tobin . 06.outlet conclut trop brièvement (1.14 min) une expérience auditive des plus réjouissantes dommage …


zu einer kollaboration der ganz besonderen art haben sich aaron funk und rachael kozak alias venetian snares und hecate im mai 2002 zusammengefunden. die beiden waren zusammen auf einer tour durch london, paris, basel, antwerpen und winnipeg (kanada) und haben dabei die geräusche ihrer privaten und sehr intimen ausschweifungen aufgenommen. die aufgenommenen töne und laute von anal- und oralsex oder anderweitiger aktivitäten haben sie in einem album verarbeitet und nun unter dem pseudonym nymphomatriarch veröffentlicht. manche leute kommen schon auf seltsame ideen... rachael kozak sagt selbst zu diesem album: "momentan kümmere ich mich nicht darum, was die leute über das album denken. wir haben es wirklich nur für uns selbst gemacht, als eine art persönliche erfahrung." erfreulicherweise ist nymphomatriarch weit von wildem gestöne oder gekreische entfernt und dennoch hat diese erforschung privater kopulationen rachael kozak und aaron funk eine rezension im playboy beschert. allerdings würde man die einzelnen sounds auch nicht unbedingt immer diesen bestimmten, zwischenmenschlichen aktivitäten zuschreiben, wenn man nicht wüsste, woher sie stammen. die musik selbst ist weniger aufregend, als es die vorgeschichte verspricht. aaron funk ist bekanntermaßen berühmt für beat-eskapaden und nymphomatriarch geht auch genau in diese richtung. teils bohrende beats, vereint mit noise und breakcore und obendrein versetzt mit ambient, bilden die basis des albums, dazwischen immer wieder halbwegs erkennbare sprachsamples. leider haben die tracks ihre längen und wirklich spannend wird es nur selten. aber die idee hinter nymphomatriarch ist mit sicherheit außergewöhnlich. die einzelnen sounds so zu verändern, dass ihre herkunft nicht mehr eindeutig zu erkennen ist, dürfte zwar für die macher reizvoll sein, aber diesen reiz kann der hörer nur dann nachvollziehen, wenn er den hintergrund des albums kennt. (veit)

sonic seducer

gipfeltreffen der breakcore giganten hecate und venetian snares im schlafzimmer. richtig gelesen - im schlafzimmer. als ausgangsmaterial für die sechs tracks des minialbums dienten ausschließlich geräusche aus dem liebesleben der beiden. dass sie sich dabei bei weitem nicht auf das naheliegenste (stöhnen etc.) beschränken wird spätestens dann klar, wenn man erkennt, woraus der hektische beat in "blood on the rope" seinen ursprung hat. dass ihr konzept jedoch auch ohne wissen um den hintergrund der entstehung aufgeht, geht noch mal ganz klar als punkt ans nymphomatriarch. (sascha bertoncin)

sex muß bei hecate und venetian snares tiefe abgründe auftun, wenn man mal vom dark ambient ausgeht, der einem auf der ep entgegen schwappt. alle, die dachten (inklusive playboy), jetzt kommt das pam & tommy tape der breakcoreszene, werden enttäuscht sein. 100% sexeigengeräusche werden so stark manipuliert, daß nichts voyeuristisches übrig bleibt, sondern eher ein puzzlespiel, welcher beat welchem ursprungssound zugeordnet werden könnte. es gibt die perfekte synthese beider stile. snares' hyperventilierende breakbeatkaskaden und hecates durch und durch dunkle klangästhetik, klatschende rhythmengewitter und endlos hallende stimmenechos und drones, die aus nekrophilen spielchen in krypta stammen könnten und nicht aus hotelzimmerschäferstündchen ihrer gemeinsamen tour letztes jahr. durchweg erstaunlich hörbar und weniger chaotisch, wie ich es mir vorstellte (ich hatte da eher an matmos' ansatz gedacht). das sex/soundkonzept mal ausgeblendet, ist es einfach nur eine entspannt dunkle breakcoreplatte, die wirklich gut zwischen mystischer stimmung und zuckender rhythmik pendelt. und so sollte konzeptionelle musik auch sein, viel musik und wenig konzept. (till)


nymphomatriarch is a collaboration between venetian snares and hecate, who used, as source material, 'their privately recorded debaucheries committed while on tour'. now, before any of you run toward your dictionary, "debaucheries" in simple terms means "fucking". it's an interesting concept, although those expecting either a cd full of moaning and grunting, or some sort of porno soundtrack, will be disappointed, as will be anyone who thinks that this will be suitable music for themselves to fuck to (or otherwise pleasure themselves). if listened to, without previous knowledge of the source, it would be easy to miss it; and even with such knowledge, many have complained to that fact. nymphomatriarch remains a work of both artists, a great combination of both their skills and sounds. the venetian snares sounds are unmistakable, without, however, the unsettling aspects of his previous subject matter. obviously venetian snares and hecate's love life is not vanilla, and the sounds offered on nymphomatriarch convey their twisted sex life, with a mixture of breakbeats, slow ambient pieces, gurgling sounds, drawn out moan-ish chords, slaps and noise. but manipulated enough that we don't have to picture it too clearly, which i think is a good thing. (squid)

pitchfork media

many questions arise when you hear that venetian snares and hecate literally made an album out of sex. am i in a dream? wait, isn't that what this year's winter in the belly of a snake was made of? when did these two become idm's j-lo and ben? most pressing of all, why has no one ever thought of recording sex sounds until now? oh wait, they did: it's called pornography. i think we can all agree that sex records are always a good idea, in any environs, under any guidance, with anyone. it does, however, introduce a bit of a problem: the distinction between art and pornography. although i have a cursory acquaintance with the decisions of the warren court in the 1950s, it's an important thing to consider before dissecting this album. am i supposed to be hearing it carnally as sex with a sort of narrative (including, pant, the climax!)? is it just influenced by sex? is it sex? like all rhetorical questions, the answer to all is no. the dilemma inherent in a gimmick like this is that it's only possible to derive enjoyment from it if you know it has to do with an orgiastic camorra of naked, shivering techno-bodies rubbing all over one another. the album is composed entirely out of the recording of "anal and oral sex, straightforward copulation, and 'microphone insertion.'" but, perhaps unfortunately, this is pretty close to the standard recording of most pop songs in the last century. you think elvis was big because of his music? anyone seen amadeus? in a year where madonna and britney spears are luring ointment into the holiest of each other's crevices in pepsi commercials, i don't need some experimental glitch/idm freak telling me how you can make music out of moaning. most of those popular songs are actually about sex. nymphomatriarch is about melancholy sparseness and irony. sexy? whatever happened to isaac hayes? the intro, "input", is the mormon tabernacle put on life support, and i guess about putting a microphone in, how to say, hecate's "subwoofer." it does indeed sound like shrill moaning and expanding orifices, but it would be unrecognizable if you didn't get the press
release ahead of time. basically, it just sounds like some inept ambience with some silly melodic synths. but things do heat up rather quickly. the percussion of "blood on the rope" seems to be almost entirely composed of the revelatory sound of ass-smacking, though without any sort of visual accompaniment, it sounds more like someone masochistically slapping some girl's face at 30 miles per hour than the unleashing of raging lust (unless that's your definition of raging lust). whether it's successful or not probably depends more on your sexual preferences than your musical ones. put it like this: it gives a whole new meaning to the term "drill-n-bass." like the rest of the album, it might be more seductive if they got rid of the sex sounds. as it is, it doesn't sound extraordinarily different from playing venetian snares over a hecate song. nevertheless, between "blood on the rope" and the pummeled bruises of "pervs", there's some pretty perfervidly maniacal rhythm on this album. "pervs" may sound more like unzipping your skin than lecherous intrigue, but whatever, it's definitely got a bite. "amaurophilia" also really doesn't have much to do with what the common man might call intercourse, or a commoner man might call "boning hos." the noises are all gravelly crunching, running faucets, abandoned swing sets in death park. it's probably about as sexual as any other venetian snares album. i don't know what it does for other people; it made me cough a lot. these tracks are adequately creative, with or without the sex, but you wish it hadn't been wasted on a gimmick album. unfortunately, about half of the half-hour album is dedicated to "hymen tramp choir", which is basically the intro times fifteen minutes of your life. it's an incredibly slow, metallic sheen, about as sexual and exciting as cleaning a sink with brillo pads. of course, for many, this may be more like sex than sex. but, even then, brillo pads are less expensive than cds right now. it goes through some gushingly lascivious whispers, but rapidly transports itself to new age catalogues of waterfalls and phantasmagoric forests before finally crumbling as a phlegmatic yawn. without this unnecessary tedium, the album might even reach into the 7's. there are clear antecedents here that i'm obligated to refer to: matmos' a chance to cut is a chance to cure and herbert's bodily functions, and probably some of that intellectual porn-lit idm kids are into, like de sade or sacher-masoch. in a rolling stone interview producer rza once testified that on a track off odb's nigga please, the extremely irrational and arrhythmic percussion is actually the sound of dirt mcgirt banging some girl on top of a bass drum while he's rapping. this is and should be the sound of sex. piling some fierce and propulsive beats over an echo chamber is not sexy (not even ironically); it's irrelevant at worst and frightening at best. (alexander lloyd linhardt)


venetian snares on the web:

hecate webpage:

more info on venetian snares:
more info on hecate:

'... will then be taking off to go and record a new album for the hymen label with venetian snares for a couple of weeks. we are working under the majestic name of nymphomatriarch....if you wonder what that will sound like, well lets just say the basis for the project is to utilize our shared passion for some of our favorite things, beats and sex......add it up.' (rachael kozak)

venetian snares hard at work on creating entire full-length from his own sex sounds
steve haag reports:
you've see the nissan altima commercial where jungle brothers ming + fs record the sound of doors slamming and windows going up and down, then run the sounds through protools to make a techno song. and you've heard matmos' a chance to cut is a chance to cure, which was created entirely from the sounds of plastic surgery. well, electronic funk maestro and pal to the tigerbeat6 krew venetian snares (aka aaron funk) has decided to sex this g-rated premise up--he's recorded the sounds of he and his incredibly open-minded girlfriend (rachael kozak, aka hecate) doing the horizontal trip-bop, and plans to assemble the sounds into a full-length album. "performing" under the name nymphomatriarchs, snares and hecate have laid down a handful of tracks for an eponymous release in early 2003 on hymen records (natch). song titles like "hymen tramp choir", "pervs", and "blood on the rope" only hint at the timbres of oral and anal sex, bondage, caning, spanking, and the stomach-turning practice of "microphone insertion" that provided the record's beats. says funk in the january 2003 issue of playboy: "it's weird to deconstruct the sounds of sex. it makes you conscious of a lot of stuff you'd normally ignore. i remember thinking shit like, 'oh, that slap will make a good snare drum.'" if nothing else, concentrating on the tonal qualities of an ass-slap should be an interesting new way for our male readership to forestall orgasm. just don't forget about her needs, guys. while a full tracklist has yet to be released, it's probably more fun to make up song titles yourself. here's hoping hecate doesn't dump venetian snakes, prompting a masturbatory solo album.

playboy. january 2002
aaron funk, who has recorded several cds on the planet mu label as venetian snares, is on the verge of a breakthrough for electronic funk. together with his girlfriend, rachael kozak (who performs under the alias hecate), he is at work on an album created exclusively from samples recorded during sex. "people i've played it for don't believe it," says funk. "they're like, 'no, no, no - you've sampled high hats there, i know it.' it's essentially alchemy, shaping sex into a new form." the couple recorded directly to minidisc during a european tour and captured the sounds of anal and oral sex, bondage, caning, spanking and microphone insertion. funk says, "it's weird to deconstruct the sounds of sex. it makes you conscious of a lot of stuff you'd normally ignore. i remember thinking, shit, like, oh, that slap will make a good snare drum. or, wow, that was a freakish set of grunts and moans - i want to make that into a choir later." so far the duo has completed a few songs - including hymen tramp choir, pervs and blood on the rope - that play with the genres of breakbeat, ambient and dub. a full-length cd, nymphomatriarch, will be released this spring on hymen records. "i like to listen to sex when i'm having sex," funk says. soon you can hear his sex, too.