Liquid G. interview: ‘I decided to stay more in the background, not perform, and gain more knowledge by making home recordings’
Liquid G.
I have been involved in this scene for quite some time, and there are only a handful of artists I witnessed from their very beginnings and have continued to follow ever since. The Belgian project Liquid G. is certainly one of them. When I listened to the new, self-released album “Distortion Of Reality” earlier this year, I was struck by the realization that Peter Van Bogaert has now been active with Liquid G. for no less than 40 years.
This solitary artist has spent decades navigating the space between Electronic experimentation and dark, atmospheric soundscapes. Somewhere at the crossroads of EBM and atmospheric Dark-Electro, what started as a personal quest for sound and emotion gradually evolved into a project where introspection and sonic layering take center stage. Over the years, Liquid G. has carved out a distinctive place within the alternative Electronic landscape, while remaining firmly rooted in the underground.
The new Liquid G. album emerges from a critical reflection on the world and its often disturbing leadership, but perhaps even more so as a means to channel feelings of frustration and powerlessness into a compelling dark opus. More than enough reason to get in touch with Peter and reflect on both the past and the present. (Courtesy by Inferno Sound Diaries)
Liquid G. interview
Q: I noted that it has now been 40 years since you started experimenting with Liquid G. back in 1986. How do you remember that period, and what preceded your first musical experiments? How did you come into contact with Electro and the bands of that era, and what do you consider the highlights and best moments of your long career?
Peter: In the beginning, it was mainly about experimenting with sounds; I only had one synth, and that was the Korg Poly 800. I was primarily working with effect pedals to create Industrial sounds (flanger, delay, pitch shifters, overdrives). I had these lying around because, before my Electro period, I was a bassist in a New-Wave group (Narrow Intellect). Since our group had performed on stage a few times with A Split Second during a competition at the Rofo’s dance club in Melsele, and later also with Vomito Negro and The Klinik, I came into contact with the Electro scene.
For instance, the first tape release, “The Art Of Garbage”, was without a drum machine, but it did feature a rhythm box and some borrowed equipment from Dirk Ivens. When this tape came out, I received a proposal from Dirk to release the track “1.30AM” on the compilation LP “Expo 87” (Body Records). And that is how we started in the Electro world.
I therefore regularly went along to performances by The Klinik and Vomito Negro, and in doing so, I got to know more and more people in this scene.
Some highlights of Liquid G., the performance at the small festival celebrating 10 years of Suicide Commando in Sint Niklaas in 1997, and of course all our performances with LIQUID G. ft. Kim; that was a busy and fun period (2008 – 2012).
Q: In fact, you almost belong entirely to the first generation of Belgian Electro artists experimenting with the genre. Yet, for some obscure reason, you (and Liquid G.) never received the same attention and recognition as contemporaries like Front 242, The Klinik, A Split-Second and others. How do you explain that, and did the fact that you mainly released everything independently (D.I.Y.) have an influence on this?
Peter: At that time, I had to make choices: work or fully immerse myself in the music world. Since my knowledge of Electro music wasn’t strong enough, I decided to stay more in the background, not perform, and gain more knowledge by making home recordings. These recordings were also quite simple—no high-tech equipment, just a cassette deck, single track, that was all. Of course, if you don’t release your music, you won’t gain the fame of the groups described above. But that wasn’t my intention either. I am satisfied with how everything turned out. The fun part was that, in the meantime, I had joined the home taping network, and my tapes were going around the world.
Q: In my opinion, one of your most noticeable releases was the album you recorded in collaboration with Vomito Negro, “Musical Art Conjunct Of Sound”, released on cassette in 1989. How do you look back on that collaboration, and how did it unfold with the original lineup of Vomito Negro at the time? Also, which albums have stayed with you the most over the years?
Peter: Actually, this was more of an experiment of mine with digital files of unused Vomito Negro songs. At that time, we both made our songs using the MACS program on Atari. That is why I also used the title “M.A.C.S.”, but changed it to “Musical Art Conjunct Of Sound”. During that period, I also met Vomito Negro regularly in the studio, doing some jam sessions together, and that is where the song “Return Of The Cicade” came from. The song “Why” (instrumental on the tape) was a track on which I played bass live as a special guest at a few Vomito Negro performances, including at Fabrik ‘88 (Antwerp): https://www.youtube.com/watch?v=PcOBsFp6i1M.
Later, I played along with Vomito Negro on synthesizer a few more times (BIM Fest and Gothic Festival). After that, our paths diverged, but we still have sporadic contact. The Vomito Negro album that has stuck with me the most is “Skull & Bones”, certainly with the songs “Blood, Sweat And Tears”, “Mongoloid”, and the remakes.
Q: You have always continued with Liquid G., and—much like on your most recent work—it often seems to function as a reaction to the world and society we live in. Could you elaborate on that? To what extent does music and the act of creation serve as an outlet, or is it more a way of conveying a message—or even venting frustration and anger?
Peter: Some releases or songs (“Fukushima Nuclear Disaster”, “1:30 AM Chernobyl”, “Nagasaki” & “Hiroshima”, “Atomic Bomb”,…) are indeed about frustrations I am dealing with, including my health problems (“Overdose”) and political situations both in Belgium and around the world (“Distortion Of Reality”). Especially when one considers how many capable people are currently in power? You would think you have to be a psychopath to be allowed to govern a country. So this is once again my Punk past reflected in my thought pattern.
Q: Over the past 40 years, a lot has changed in the world, especially in terms of technology. To what extent has this influenced your way of working and the sound of Liquid G.? Are there aspects from the past that you still miss today?
Peter: Over the years, of course, new synthesizers have been released, old-school synths re-released, and more and more powerful computer software, but naturally, in between, I sometimes still work the old way, like I used to. Real-time recordings, not track by track. This is obviously not conducive to getting a good final mix, but it is very enjoyable to do. Usually with a simple drum machine, one or two small synths, and some effect pedals, for 10 to 15 minutes of recording. Like the track “After The War” (shortened version) on the latest release. For the rest, I now have the equipment I prefer to work with, partly analogue, partly digital. Each instrument has its own sound that I find fantastic, so very few new synths are being purchased anymore; actually, I don’t have any more space.
Q: As mentioned earlier, you mostly released your work independently through your own label, Liquid Produkts. However, there were a couple of exceptions when you worked with the Italian label EK Product. What drew you to that collaboration, and how was the experience of not being in full control for once? Did you have any other serious contacts with labels?
Peter: It was a nice collaboration with EK Product Label for the 2 albums (“Biohazard & Medical Waste” and “Overdose”), but for the third album (“Area 12.7”), the communication went a bit wrong. The intention was to release this on LP, but that never happened. After that, I got in touch with Josh Cheon from Dark Entries Records USA. He was keen to release an LP with tracks from the first tapes; everything was handled in America, including the mastering and the cover design, and I am quite satisfied with the result. Distribution in Belgium was also handled via Wool E Shop which was another pleasant surprise. Apart from that, there are no labels waiting for releases from Liquid G., which I understand, as I don’t perform anymore and therefore don’t promote new material.
Q: Your new album “Distortion Of Reality” is clearly inspired by some of the troubling world leaders we are confronted with today, yet in terms of sound and technique it also brings me back to the early days of LIQUID G. Can you tell us more about the album—both what drove you conceptually and how you approached it musically?
Peter: As I mentioned above, this album is primarily about certain things that irritate me and have stuck with me from past disasters caused by humanity. When making the songs, I am usually solely focused on composing something musically using specific synthesizers and sounds that I have in my head at that moment. The samples only come at the end, when something pops into my head that day that I need to respond to. Then I start searching the net in archives of statements made by certain high-ranking individuals in the past. In fact, I have been working this way from the very beginning. Since my voice hasn’t been cooperating as well lately, I sometimes also use text-to-speech sites on the net to create samples. Some are in favor, others against, but we must help ourselves with the resources we have.
Q: What is your view on today’s Electro scene, and to what extent does the concept of ‘underground’ music still exist for you when it comes to Electro?
Peter: To be honest, I don’t follow much of the Electro scene anymore, as in recent years I’ve mainly been going to Punk festivals (and even that isn’t much anymore) and I also occupy myself with designing festival posters and merchandising for Punk festivals (Once A Punk, Hertals Rock City, Funeral Dress…). It is also true that I mostly listen to old-school Electro at home or in the car; I’m actually not up to date with the newer bands, I think old age has something to do with that. I’ve always loved festivals like BIM Fest, but due to health problems and old age, I can’t stand for long anymore, so standing in a venue for about two hours is more than enough for me, which is a shame.
Q: After 40 years of Liquid G., what are you most proud of, and what—if anything—do you regret? And what does the future hold?
Peter: The release that has stuck with me the most over the years has to be “The Art Of Garbage”; it was fun working on those songs with simple and minimal material. And actually, I also consider the latest release (“Distortion Of Reality”) to be one of my better works; I am actually quite satisfied with all the songs on it, especially because I have emerged from a deep, dark period involving many health problems, surgeries, depression…. (2018-2025). What I do regret are several tape releases that I released too quickly and too often in succession in the past (e.g., “Killing Gaze” is one of them), but well, you are in a flow and at that moment you don’t stop to think about it.
For the rest, I am now mainly going to focus on making new songs for Liquid Trauma, together with Peter De Koning (Traumasutra). We have worked well together from the start and understand each other quickly while making a song when we get together in the studio. Since we only get together a few times a year, it always takes a few years (about eight) for an album to be ready. Currently, the 2nd album (“Ego Death”) is ready, but we are still waiting to see if there is a label interested in releasing these songs; if not, it will also be on the Liquid Produkts label.
I would also like to mention Wool E Shop here again, as we owe a lot to Dimitri regarding the release of Liquid Trauma’s albums – “Distorted Memories” and “Hydrom Line” – and the great collaboration while I was creating designs for some tape, CD, and LP releases for Wool E Shop. This is also something I occupy myself with whenever I have some time left: digital artwork (Chaotic Artwork).
I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.
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