> K I L L J E S T E R is an experimental solo project embracing the improvisational energy of Scrap Metal while drawing from the abrasive complexity of Brutal Prog.
> K I L L J E S T E R draws influence from the amazing Tatsuya Yoshida (吉田達也), Risa Takeda (武田理沙), Mats & Morgan, John Zorn and Frank Zappa.
> This project seeks to break away from the modern vision of music as a collection of intellectually monopolised products, and rather embrace the unrestrained nature of plunderphonics influenced compositional process and of live improvisational chaos, taking cues from avant-garde and jazz, whilst keeping true metal aesthetics.
> In October 2024, K I L L J E S T E R released its debut eponymous EP, capturing this ethos with unpredictable, dynamic soundscapes, where complex rhythms and eclectic fragments are brought together through improvisation and live interactions.

> What is Scrap Metal?

Scrap Metal is an obscure musical style from the 90s, characterized by a fusion of metal with improvisational blues elements. The style emphasizes a raw, unpolished sound that blends heavy metal’s with the spontaneity of live, improvised music. It emerged as a reaction against the increasingly technical and polished direction of metal at the time, and rather going back to its roots in blues, rock, and African-American musical traditions. Key musicians in the genre, such as Chester “Cheshire” Navidson, shaped Scrap Metal by rejecting studio perfection and focusing on live musical interaction and expression.
The genre’s name itself reflects its concept: taking “scraps” or fragments of different musical elements and repurposing them into something new. Musicians in Scrap Metal often borrowed riffs, rhythms, or tones from various existing works but reinterpreted them instead of sampling directly, fostering a spontaneous, almost chaotic creation process.

> What do you mean “Plunderphonics”?

Plunderphonics is a term coined by John Oswald, and refers to the practice of taking existing audio recordings and manipulating them to create entirely new compositions. Oswald’s approach involved sampling recognizable music and transforming it, to challenge ideas of originality and ownership in music. By reworking fragments of existing material, Plunderphonics pushes the boundaries of what constitutes a “new” creation.
In Scrap Metal, this concept is reinterpreted through live performance. Instead of sampling, musicians reinterpret and re-perform fragments from various influences. The core of Scrap Metal revolves around the concept of the “yard”. This “yard” serves as the environment where musical fragments (or “scraps”) are brought in by musicians. These scraps are often riffs, beats, or lines reimagined from their influences, and are woven into the improvisational chaos of the yard.
The process of improvisation in the yard is unpredictable, with musicians unaware of how their individual contributions will mesh with the others, leading to an energetic collision of ideas.
This reflects the spirit of Plunderphonics, but with a twist: instead of manipulating samples, the music is re-performed live.
Additionally, “In the Yard” refers to a practice similar to Frank Zappa’s “Freak Out List”. It’s a reference section listing the diverse array of influences and contributors who have shaped the sound —be it musicians, artists, writers, or even abstract ideas. This list helps contextualize the fragments that come together in the yard, providing a roadmap for the scraps of inspiration fueling the music, and to give credit where credit is due.

> How can we support this project?

Beyond listening to it, you can not and shall not. All the music created with this project is distributed under anti-copyright.
Instead, if you still want to throw your money somewhere, you can make me happy by supporting the artists I work with or those who are in the Courtyard.
I suggest for instance to buy Risa Takeda’s albums. All of them.