A short A & Q between Silvia Kastel & Raymond Dijkstra…


August 2017

RD: Can you tell something about the background of ‘The Gap’?

SK: I had recently moved to Berlin and I had a very minimal set up with me. Just my synth, a drum machine, some pedals, a tape recorder and a couple mics. I held on to my gear like it was all I had. It was light and heavy at the same time. I thought a lot about void, physical and emotional. And all the different (or same) ways that people fill it with. The Gap mostly refers to that. 

RD: Did your music change since you live in Berlin?

SK: Most of the music on The Gap was made here. I was living a lot at night at the time, taking long walks on headphones at night. The city lights, the canal, the things I experienced during those walks informed the music on it. 

RD: What do you think of the current state of so called experimental music.
I’m using this term in lack of a better description. Do you think there
still exists such music at all at the current time?

SK: It’s always hard to define what’s “experimental”, but yes, it still exists. I would say that people are definitely a bit more open to “stranger” sounds now, than a few years ago.

RD: Are there things, experiences, people, other artists which have
influenced your work, or your work in a certain period?

SK: Life is the main influence of course. Some artists I really love and draw inspiration from are: Pierre Molinier, Rei Kawakubo, Anne Gillis.

RD: Can you tell something about your collaborations

SK: For many years I played in a band called Control Unit. At the same time me and Ninni (my partner in the band) would play a lot of improv – free jazz shows with other people. Some of those were just one off collaborations, some of them were a series of shows/tours, sometimes we would record sessions and release them. The collaborations I enjoyed most were probably the ones with Ju Suk & Oblivia of Smegma, Aki Onda, Gary Smith.

RD: As a person who likes to spend a lot of time by yourself, how do you cope with social life

SK: I am quite asocial in general. Over the years I’ve realized that Music is what’s really kept me going. Both in my solitary phases and in the social realm.   Thanks to music, I’ve been able to meet and make friends with like minded people. I’ve met my dearest friends through music, very special people. But music has also shown me how horrible some people can be.

RD: Has your music ever taught you something about yourself?

SK: Definitely. Not only it uplifts me when I’m sad, it helps me understand why, it’s like a translator of emotions.

RD: Do you ever think about your public when making music? Or is it a purely solitary trip?

SK: It’s both. The solitary trip is a part of the immersive process. Of course I think about people as well at some point. If you are moved by something you’re making, it’s only natural to want to share that and hopefully convey emotions to others.

RD: You also perform live. Is there a difference with playing in your studio?

SK: Yes, very different.  The tension and energy of a live show are very unique and feed into studio work, inevitably.

RD: Working as an artist involves more than creativity and ideas. It’s also about clarity in perception and the ability to somehow communicate it, wether towards yourself or the public. In my perception this determines if a work of art is good or not.
The ability to communicate. To ‘materialize’ personal experiences. This has taken me personally, years before I was able to do so, because for a long time, the fuzz and chaos of life got in the way.
Do you feel the audience perceives your work (within broad parameters) like you perceive it yourself?

SK: Interesting question. It depends. Sometimes my own perception matches other people’s. That feels good of course. Other times their impressions are very different. Whether it’s a compliment or a critique, it doesn’t matter, it makes you see your own work in a different light, makes you less obsessed with your own self perception so you can discover more in the process. 


Editorial Note: It is allowed to take Parts of this Interview for Publication by third Parties when the Name of Writer and a direct Link to this Interview is included in the Article.


Silvia Kastel The Gap

Handmade Artwork by SK.
Signed by the Artist
Edition of 25 ex.
Date of Release: 2 November 2017 / SOLD

Silvia Kastel is an Electronic Artist and Underground Chanteuse from Puglia, Italy, currently living in Berlin, Germany.
Since 2009 she has released several Albums with her (now ex-) Group Control Unit, Albums in Collaboration with Smegma and Factrix, as well as releasing several Solo Albums.

The Gap was previously released on Cassette in 2016 on the German Label Noisekölln Tapes and is now for the first Time released on Vinyl as a full LP by Des Astres d’Or. The Music is made in a period wherein Silvia physically had just left Puglia and was trying to settle in Berlin, yet Mentally feeling as in a Void… The Album is truly a modern Classic and brings back Memories of a Time when the Term Electronic Music still mostly referred to Avant-Garde and dark Psychedelic Electronic Music and was not yet simplified and made synonymous with Dance as is the Case nowadays unfortunately. In Fact, it’s Music could easily have been released at the End of the 70’s or early 80’s with it’s reverberant Analog Sound consisting of La Kastel’s distorted abstruse Voice, slowed down with barely functioning Tape Delays and paired with rotten Vintage Synthesizers which she found left on the Corner of a Puglian Street, leading to a dark personal Voice recalling Feelings of Misery, Regret, false Hope, Fear, Loneliness and convincing the Listener there is really no Need for extravagant Joy, she moreover extravagantly and joyfully submerges herself in her own Fear fueled Psyche, not afraid to touch Bottom and making this Album into a truly wonderful Example of Autobiographic Music Making…

The LP is released in an Edition of 25, handcut on real Vinyl (no Lathe Cuts), and paired together with her beautiful Artwork… The original Polaroid Photo’s made by Kastel are Abstract Depictions, Psychic Images of her Personal World. On some, one can vaguely recognize Parts of her House, although it is unclear whether it’s in Puglia or in Berlin… Others are as Abstract as a Mind can sometimes be in certain Circumstances. Some Artwork contains metal Strings of one of her own Musical Instruments and Text is printed and attached with Dymo embossing Tape, giving the Work an even more personal Aura and Tactile Quality, like a Memory, of a past Event


A1 Chased  
A2 The Gap  
A3 S Dream  
B1 Taped To Heart  
B2 Suspended And Blue  
B3 Drawing Lines  
B4 Baller

This Album was previously released on Cassette in 2016 on Noisekölln Tapes.

First Edition on Vinyl.

Special Remastered Version

Silvia Kastel https://soundcloud.com/silviakastel

Interview with Silvia Kastel by Astres d’Or

Listen to full album / Digital download



Silvia Kastel ~ The Gap





Gatefold Cover. Outside: Greyboard, inside: white.
Polaroid Photographs, Dymo Embossing Tape, (incidentally with) Metal Strings
Signed, dated, numbered by SK

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