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———– Writer / Music re-views / inter-views / and my points of view ———– The GROUND Magazine / HungerTV

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Thank you David Byrne for bringing this Woman with a capital W

 

The Labèque Way – A Conversation with Katia and Marielle Labèque

Read it on The GROUND Magazine

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Katia and Marielle Labèque are more than sisters and internationally acclaimed pianists. There’s something in their bond that goes beyond genetic; it’s something that taps into the soul level. They may be daughters of Ada Cecchi, who was a pupil of pianist Marguerite Long, and passed on to them her love for classical music but these details feels more like faded information on a passport than a blueprint for their future. In fact, meeting Katia and Marielle is like standing in front of two very distinct mirrors reflecting each other as they play along the same harmony. Their talent is not the result of a solitary gene showing up, uninvited, in their DNA; Katia and Marielle recognized their artistic place in the world from an early age and ignited it with a passion that revolutionized the classical world, starting with their contemporary rendition of Gershwin’s Rhapsody in Blue that became one of the first gold records in classical music.

As I see them taking the stage at the London Festival Hall, where they will play Poulenc’s Concerto for two pianos and orchestra, led by Spanish conductor Juanjo Mena, I recall my phone conversation with Katia. The punchy and acerbic Concerto begins, I understand that despite the innate nature of talent, Katia and Marielle’s synchronicity is not a mere family affair but a true passion for a journey called life and living for art. An ever experimental journey that may just be better shared and enjoyed between siblings.

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Photo by Umberto Nicoletti

“Our lives are so intertwined…” Katia tells me from her apartment in Rome who once belonged to the Borgia family and has been decorated by the grand seigneur of the design world Alex Vervoordt “…and when we’re not travelling together, Marielle travels with her husband”. The other half of the Labèque piano duo is married to prestigious orchestra conductor Semyon Bychkov. “Her life is so difficult to manage having a husband constantly on the road as we are but passion is the key to make it work”. Katia sounds as warm as the sun shining in the a-typically warm winter day in the Italian capital and the passion she speaks with is the same as the one she uses at the grand piano. Time may stand still in the Eternal City but indulging in it is out of discussion for them; “We are musicians and interpreters so being on a stage is essential for us. If we’d be at home the whole time we couldn’t express our musicality. In this respect travelling around the world is a necessity to bring our work to the audience; otherwise it’ll remain a lifeless piece of work. We don’t really get to be tourists but it’s a beautiful necessity”.

It’s a lifetime journey started in the Basque region of France, “one of the few places in France where a musical education does not exist though its culture is musically strong” an adventure that brought them together to the most illustrious orchestras in the world, collaborating with composers like Philip Glass and Luciano Berio and to a record-breaking performance attended by more than 33,000 people at a gala concert with the Berlin Philharmonic inside the Berlin’s Waldbühne. In a classical world where the repertoire for piano duo is limited, Katia and Marielle always had it their way, as the title of their documentary suggests: The Labèque Way, directed by Félix Cábez. Applying the expertise of an artisan they created a body of work of their own, delivering mesmerizing projects that show, and dare, to display exotic combination between the classical world and contemporary art forms. After all Katia is not afraid to mention Radiohead among her favourite composers, along with “Bach, Mozart, Stravinsky in general and Schumann, who in my opinion is not played enough.” I immediately feel that the charm of this lady is not only in the way she speaks Italian but in her nonconforming nature. They brought basque percussions to Ravel’s Bolero with the Kalakan Trio, performed an arrangement for two pianos of Bernstein’s West Side Story arranged by Irwin Kostal and more recently Minimalist Dreamhouse, a project inspired by the early minimalist works that got their exposure in La Monte Young’s 1960-61 Chamber Street Series in Yoko Ono’s New York loft.

Katia, who lives with guitarist, composer and producer David Chalmin has a kind of stability that also allows her to look after their KML Foundation, a heartfelt project founded in 2005 aiming to promote classical music to a new audience whose educational background has lacked an introduction to the classical world “I really enjoy it and I’m definitely more available than Marielle but I don’t see our relationship about sharing tasks. Everything between us runs with a natural flow by now. When we play it’s different though; she brings her strengths, balance and happiness. She’s also physically strong in her approach to the piano and it’s a resourceful skill to use on so many pieces. We are working on the original version of The Rite Of Spring by Stravinsky who composed it for two pianos and she’s got such a strength in the virtuoso and lower parts. Playing together with someone at her level helps a lot.”

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Photo by Nacho Carretero

When Katia and Marielle take the stage before my very eyes there’s a silent thrill in the audience and as I find myself in front of this one entity breathing the same breath, it’s not difficult to see why they compliment each other so effortlessly. It’s not about major and minor scales, they somehow complete two very opposite emotions. Katia, bringing a touch of red with her Louboutin stiletto has a dramatic stage persona that approaches the piano like an animal in trance. It’s surreal and supernatural to see the instrument surrender to her hands. Her counterpart, Marielle, brings to life the deepest and darkest side of the composition in a calm, precise and most of all meditative manner. Their eyes always staring at each other, as if severing this connection would bring about utter destruction. The audience under their spell… “It takes time to control the piano for it’s a very strong instrument but you have to, otherwise it will fall apart. There are no limits to what you can achieve by playing it and yet there is a little bit of suffering that I guess it’s part of our world and any other artistic expression. It’s a moral and physical pain, like a dancer who’s got his own body as an instrument but the moment I go on stage it all fades away. There is definitely a dark side to this all and we need it in order to reveal light and find a balance. This is a permanent game we have to play otherwise we’ll live in a superficial state of joy or sadness”

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Photo by Umberto Nicoletti

The secret for achieving this level of consciousness and be a channel rather than the bearer of the darkest emotions is discipline. I expected it to be part of this equation but Katia and Marielle found freedom through it that allowed them to experiment with classical music like no others. “It’s always a fight against something, even freedom! People who can do whatever they please are not really free or interesting. True freedom is being able to be disciplined in your work that sustains your artistic freedom. The more you work, the more you’ll arrive on stage so prepared that you’ll fell like you are recreating that piece as if it was yours rather than just playing it. Almost as if you are improvising Mozart! The music you play is not a fruit of your hard work anymore; it’s just like a piece of art speak for itself to you. This happens only because the painter has worked so much before and this is a kind of discipline that comes from our mother.”

Writer Hanif Kureishi once wrote in Gabriel’s Gift through the voice of a father “if you’ve got it, you’ve got it from yourself, and don’t you forget it. You can inherit an old tie but not a gift, that’s one thing I know” It may not be written in stars or in the family tree but can talent be just a sheer coincidence when it comes to Katia? “The quote is so terribly true. He’s right, you can pass on so many things, like education for example which is very important to your personal growth by the way, but when it comes to talent we are talking about a gift; you either have it or not. No matter how hard you work this quote remains very true. On the other hand, talent with no hard work and discipline is useless and a sad condition because it’s not enough. We learnt a great deal about discipline from our mother, she was a role model in that regard, she would know if one day, for example, I wasn’t training properly and it took her a few words to let me know. Practice and hard work is the engine to make your talent running otherwise it will just stay there, switched off.”

At such a young age and seen the extreme experimental nature of their projects, I imagine a rebellious duo and two daughters who, just like anybody else, have a conflictual relationship with their mother. “I wouldn’t say we were rebels in our growing up. When teenagers started rebelling we were already in Paris on our own, studying at the Conservatoire. You know, we grew up in a small village and our mother made the best she could. Since she was a teacher she understood us but when we reached a certain level she knew she couldn’t keep us at home anymore as it would have equaled to kill us. If she wanted our talent to grow and blossom she’d had to make this sacrifice and let us go. I was 13 and Marielle was 11. We weren’t rebels because we chose to be musicians; it was our passion and what we wanted. We did not argue with our parents’ choices because we knew it from the start what an incredible sacrifice they were doing. We have been lucky at the end of our studies to be able to make a living on our own immediately, going on tour with a dance ballet. We actually had a very wonderful and easy relationship! Life itself was hard. It was tremendously sad for us not being able to see our parents so often. My mother came to visit us in Paris whenever she could but still it was hard moving away from the basque coast; that was the country we were in love with, its beaches, its sea. Paris was not our city.”

Luck literally came knocking on the door on day during their years at the Conservatoire. “We were playing Visions de L’Amen by Olivier Messiaen and he came in wondering who was playing his music. It was normal for us back then to be playing in front of him but it was actually a turning point for us once we recorded the piece. Thanks to that moment people got to know us.” The eagerness that made them want so much to perform as a duo is the same they use to promote their foundation that among its artistic committee includes Madonna, Placido Domingo and Italian writer Alessandro Baricco “He’s a great friend of ours who welcomed us in of the rooms of his Scuola Holden to shoot a project on Tina Modotti. Director Nathalie Joffre and actress Dajana Roncione worked on this project to honour the life and work of Tina who was such an incredible photographer and revolutionary. There was a lot of research involved and we made this short film. Madonna is a friend of ours and we introduced her to the basque Kalakan Trio who eventually went on to follow her during the MDNA Tour. I believe in and support them as much as I can. We are interested in people whose worlds are about the continuous research of ways to experiment. Every artist brought us closer to another and this is extremely interesting. Miles Davis was doing the same thing, he brought people and artists in the same circles so that they could learn a lot from each other. There is too much individualism at the moment in society. You’ll always have commercial products and works anyway at it’s fine because this is something so far away from our world that we don’t feel any sort of competition. I only wish more people would be exposed as much in regards of classical music, and I do want to believe that this is possible.”

Where only the love of a mother can gift her own daughters to follow their talent even if it means living apart, dealing with record companies was an even more painful matter. It tested them in how far a “difficult artist” could go. “Many things changed so quickly in the music industry that there’s no time to adapt and for artists like us it has never been easy. The classical repertoire for piano duo is not a well-known thing to begin with, probably the most famous one is by Mozart but even fans of classical music aren’t quite aware of it as much as they are with Chopin or Liszt. We love playing Poulenc, but once again he is not considered that much as part of a pianist’s classical repertoire. It wasn’t easy for record companies to deal with us and in the end it was always up to Marielle and I to decide what to do and what to play.” Taking the road less travelled by rewarded them once again. Instead of continuing with Philips Record, they finally started their own record company “It was not a nasty divorce but we could just could not picture anymore their projects in our world. When you are young you need someone to look after you but in our case it’s fame that helped us achieve many things. People got to know us and supported us so all of this became possible. I find it natural having created our own record company and helping different artists from different artistic worlds that we feel so close to us. There are already many foundations in the classical world of virtuosismo that help the best violinist, or pianist. Our aim is to also support artists beyond our world because nowadays’s music is electronic. I’m not saying that it’s done without classical instruments, on the contrary, but if you look at Radiohead for example, they are genius. They create a world of acoustic and electronic guitars to add a certain sensibility to electronic music as we know it. If you do this as well as they do the result is mesmerising.”

Someone said that classical music will never ever cease to appeal in human history, and it’s not even rare to see how modern authors turn to it. Haruki Murakami uses classical compositions as metaphors and to create emotional landscapes in his novels. His epic work 1Q84 actually open with Janáček’s Sinfonietta playing on the radio of a taxi. “The thing with music is that you have to love it first of all and not trying to understand it, that will happen later on if you want to. The problem with classical music is that people are not exposed to it; it’s not that they don’t love it because music is so direct and immediately speaks to you. People think that in order to enjoy classical music they have to be clever and sometimes they’re afraid they won’t get it but this is just confusing. Media are not helping with this, nowadays it’s all about pop or rock music which by the way I love; Radiohead are one of my favorite groups and very important musicians. Even though classical music is the music I was born with, I always like when it comes into contact with contemporary music. It’s a paradox but maybe contemporary music is the most difficult to understand and love immediately. If you make a kid listen to Ravel’s Bolero or The Rite os Spring, he gets it and loves it. A kid is not afraid because fear comes afterwards, when you grow up and you’re lead to believe that classical music is conceived as something elitist. It didn’t find its way yet, it still suffers from prejudice and it’s not well divulged. A lot of people are trying to work towards that direction but classical music, I believe, needs to be part of children’s education in particular since school. It’s important to divulge and it should start when you are a child. Of course if you then want to play Mozart, knowing his historical context, the architecture and instruments of those times helps a lot. When we played on a fortepiano from his time it made us understand deeply his style and we found a new way of playing beyond the limits of the instrument. It’s exciting and to me, knowing how to deal with your emotions and control them is at the basis of my drive.”

I’m interested to know how their inspirations come about when choosing a theme to explore and experiment with and most of the times it has got to do with artists or movements that challenged common thinking. “Minimalism for example is an extremely important movement in music history for me. It may very well be the greatest revolution of the last century because it opened the door for rock, pop and a different way of making cinema. Everyone from Brian Eno to Radiohead got in touch at least once with minimalist’s principles. It was a kind of music that wasn’t well received at the beginning and so we recreated the same kind of atmosphere that Yoko Ono created in her loft. We gathered with different musicians in our studio, improvised a lot and discovered many things along the way. It’s an endless project because there are endless possibilities and it all started with our friend Igor Toronyi-Lalic who asked us to play in a minimalist festival at London’s Kings Place, even though we had never played that music before. We are always looking for something new, if we wanted we could have played Gershwin’s Rhapsody In Blue all our lives. Don’t get me wrong, I love it but you have to move on. Recently we have been working on new projects that we are excited about like The Bernard Hermann Concert Project that includes arrangements of Hermann’s music. He was such a great composer who scored many fantastic films by Alfred Hitchock. We are also working on a project about Moondog and his world on NYC’s Sixth Avenue. He used to dress up as a viking and wrote incredible music. A documentary about him is coming out soon. Philips Glass took him under his wing and also Steve Reich was greatly influenced by him. We’ll perform this project as part of Kings Place’s Minimalism Unwrapped programme and it will include also music by Glass and a modern piece from David Chalmin. We want to investigate and show how Moondog inspired Glass but also young composers. He used to live on the street and he was an incredible talent.

We are also doing a project with one of Madonna’s break-dancers Yaman Okur who invented a particular style of dancing. It will be inspired by Shakespeare’s Romeo and Juliet and it’s called Star-Cross’d Lovers; the music for this ballet has been exclusively written by David Chalmin. It’s a contemporary Romeo and Juliet for seven break-dancers, two pianos, electric guitar and percussions premiering in May 9th-10th at Paris’s Philharmonie 2 followed by Luzern Festival and later on Dortmund and Bordeaux” Shakespeare’s  timeless theme of impossible love has been a source of inspiration for both Chalmin and Okur who, together with Katia and Marielle, managed to break down yet another barrier. On one side, Chalmin shows how rock music, Minimalism or electronics can coexist with classical pianos and in doing so, he paves the way for contemporary music to be closer to pop music without being elitist. On the other hand, Okur is free like his body movements to bring break-dancing from the streets to concerts halls as a piece of art that can be written, choreographed and danced alongside classical soloist. Chalmin’s ability to build bridges between different musical universes has found the perfect chemistry in allies like the Labèque sisters and when this alchemy gets in touch with a visionary choreographer like Okur, these universes collide and come together to create a new symphony that is the very essence of experimentation. Love and hatred through fluctuating dancing, two romantic pianos inspired by Schubert or Chopin, and rock explosions between Capulet and Montague all find a common ground in this unconventionally conceived and produced project.

“Not that I’m surprised but you looked beautiful on stage tonight” I tell her as we meet backstage and find out that fashion doesn’t go unnoticed in the Labèque universe. “It’s really important even in our world because once you walk on stage you are already making an impression. Maybe this is one of the reasons why the classical world has to learn a lot from the pop-rock scene because that world presents itself in an appealing way. The way you look on stage is also a form of respect towards your audience.” Katia, wearing a purple velvet long jacket tells me about her love for Riccardo Tisci, “it’s not about the fashion house for us, it’s about the designer. If Riccardo was to leave Givenchy one day we’ll follow him.”

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Photo by Umberto Nicoletti

As Marielle is on her way to sign autographs for the fans already in line I need to tell Katia how impressive it was to see them on stage and ask her about a piece that expresses her unity with Marielle. Just like a breath mark, a pause that does not affect the overall tempo, her answer brings everything back to the beginning: to family and those memories of their mother taking them to see Ravel’s birth house before treating them to cake and chocolate. “It would be Ma Mère L’Oye by Ravel and his music in general that we grew up to. He’s a special composer to us and our mother’s teacher was a dear friend of him. I think it reminds us of our childhood that is always inside of us; we never lost a connection to it. Yes, we are adults now but you have to keep that world inside of you alive. When I sit with Marielle in front of the piano I always feel something gripping my heart as soon as we play the first notes. It’s very important to me and I think it has got to do with being always amazed towards life. Everything may keep on falling in a routine but it’s important to keep alive that part inside of you that is always in awe. It also helps you recognise what you have before your eyes. People are too blasé nowadays.”

Throughout yet another year’s packed schedule, the Lebèques are performing at the end of May the world premiere of a new Concerto for Two Pianos and Orchestra written for them by Philip Glass. Commissioned by the Los Angeles Philharmonic and conducted by Gustavo Dudamel, this double piano concerto will then be performed in France, Turkey, Sweden and Spain. The influential master composer said – “Like many people involved in today’s music I have long been an admirer of Katia and Marielle Labèque’s performance of traditional and new concert music for duo pianos. I was very happy to hear their brilliant playing and interpretative skills with my own music – first with the 2007 work, Four Movements for Two Pianos and then, more recently, the Two Movements for Four Pianos. This last work was premiered by the Labèques along with additional pianists Dennis Russell Davies and Maki Namekawa. I was very pleased when they suggested a new work – the present double concerto.” This project promises a new way of experiencing the relationship of the soloist to the orchestra and since both Glass and the Labèques always seek inspiration in the unusual and unexplored, the music of the soloists will be shared between the two and the orchestra will serve to extend the range and color of the soloists.

Katia and Marielle Labèque make an impression even when they walk away from the venue and looking at them, talent is not only in the movements of their hands, the knowledge of their minds, in their fighting spirits and the exposure to music within their family. Talent is as hard to describe as the reason why a soul choses to come to life in a certain body. Reason may tell us that the Labèque future was inevitable, but when our heart is touched by their passion, talent is nothing more than “seeking the echo rather than the refrain and preferring discovery to repetition.” Their uniqueness won’t be repeated even with their DNA but Katia has her own “piece” to pass on to the future “The only thing that can make you strong is years of experience and love for music. It’s the willingness to hand down to someone your knowledge.

M.P

Katia and Marielle Labèque nel album ‘Sisters’ is out now on KML Recordings

Official Website www.labeque.com

KML Foundation www.fondazionekml.org

Twitter @KMLabeque

Agnes Obel / Interview / HUNGER TV

Read it on HUNGER TV

There is something from another place and a different time in everything that Agnes Obel does. Maybe it’s because she grew up playing the piano as opposed to listening to the radio, or maybe because her inspirations are to be found in the visual realms of Hitchcock, Tina Modotti, and Robert Mapplethorpe. Playing Chopin for her was as inspiring as the release of “Dummy” by Portishead, and this might be the reason why her music is an ever elegant fusion between a classical sensibility and a modern curiosity.

The Berlin-based Danish musician has recently released a deluxe version of her second album ‘Aventine’, featuring 3 new tracks, live recordings and a remix of ‘Fuel To Fire’ by none other than David Lynch. Agnes’s ability to create intimate and effortless soundscapes comes from the total control she has over compositions, production and the usage of her pure vocals. Ahead of her UK live dates, Hunger TV meets with the polyhedric and fascinating artist to talk about her impressionistic world, intimate creative process and how being receptive to your own self may be the secret to touch people’s heart through your work.

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YOUR PIANO TEACHER USED TO MAKE YOU PLAY ONLY WHAT YOU LIKED. IS THIS STILL SOMETHING YOU KEEP IN MIND WHEN MAKING MUSIC?

Yes and it hasn’t changed. I still do the best work when not knowing the reason why. It’s a mixture of being curious and feeling the need to express something. Working on a deadline or having certain limitations can be useful sometimes because it takes you in new directions

YOU PLAY, SING AND PRODUCE ALL BY YOURSELF. HOW DOES IT FEEL WHEN SOMETHING SO INTIMATE IS RELEASED?

I like at certain times, mainly before a release, to suspend my knowledge of the outside world for a while. You cannot know how the music will feel to anyone other than yourself so overthinking that would be a waste of time. On the other side, it is interesting to pursue a certain state of mind and find out if you can capture it within a certain song or a piece of music. This experience is always your own of course, and in a way very introspective, but you still always hope that this will resonate with something outside of yourself and that the songs can be something on their own.

MUSIC ALWAYS COMES FIRST FOR YOU, LONG BEFORE LYRICS DO. HOW DO YOU DEAL WITH THIS CREATIVE PROCESS?

To me, words and their meaning change significantly when you put them into a piece of music. I can have something written down before hand, but as soon as I play and sing them it is like they become physical to me. They are suddenly part of the room, the music, the body and my voice. I find this connection and transformation super interesting so I try to be open to this form of imagination and lyric writing that takes place when the words are actually sung and played. Sometimes words are linked to something very personal, a specific experience for example, and sometimes they become very abstract and it takes years before I understand what that song is about.

YOU ONCE SAID THAT THE PIANO AND SINGING ARE TWO EQUAL THINGS TO YOU. SINCE YOU ARE WORKING WITH NEW INSTRUMENTS ON THE NEXT ALBUM, DO YOU FEEL LIKE YOUR VOICE NEEDS TO ADAPT DIFFERENTLY TO THIS?

I guess so. The music I have been working on lately has been with more mid-frequencies and less bright instruments, so this changes a lot of things, mainly the way I sing and use my voice in the music. I have always used recordings to develop sounds and instrumentation in order to understand how to use my voice and the words within the music. It always worked and in many ways I feel like the recordings and the instruments become decisive on how I end up using voice and words.

CAN YOU TELL US ANYTHING ABOUT YOUR NEXT PROJECT?

I have some clear ideas but I’m not sure it is a good idea to go into specifics on such an early stage. I mainly plan to work with old keyboards like spinet and harpsichord and then see where they take me.

THE ARTWORK FOR YOUR MUSIC IS ALWAYS VERY DISTINCTIVE AND AS ELEGANT AS YOUR MUSIC. DOES HAVING A PHOTOGRAPHER AND ANIMATOR AS A PARTNER HELP YOU TO FEEL INSPIRED?

I am lucky to have someone close to me that has such a different perspective but who’s still deeply involved with what I do. He is a powerful influence, no doubt, and he’s very good at making things happen and seeing things from an absolute unexpected point of view.

YOUR MUSIC ALWAYS CREATES DIFFERENT SOUNDSCAPES. HAVE YOU EVER CONSIDERED CREATING A SCORE TO A FILM?

I think the conversation between film and music is very interesting. I guess I am from a generation where film and music are perceived as intrinsically linked. I especially like the point when a film, or a scene, changes unexpectedly because of the music that is being used. Music becomes a part of the story and changes your perception of it. I would definitely love to be part of that in some way of another so yes, if the right project comes along, I would be up for it.

CONSIDERING TODAY’S MUSIC INDUSTRY, YOU ARE AN EXCEPTION; A SELF MADE ARTIST WHO IS NOT PRESSURED BY ANYONE AND TRULY DOES WHAT SHE WANTS. WHAT WOULD YOU TELL TO MUSICIANS WHO HOPE TO FOLLOW YOUR PATH?

I’m not sure. What I often find interesting in music is the window into something singular and otherwise unreachable. I guess that being open to your own self, and all the idiosyncrasies in your work, is the best advice I could give. If you look at it in this way, you are opening yourself to others as well.

WHAT WOULD YOU PLAY DURING A DINNER WITH ALFRED HITCHCOCK, INGMAR BERGMAN, ROBERT MAPPLETHORPE AND NINA SIMONE?

I think they would all appreciate “Der Leiermann” by Schubert. It is the last song in the Winterreise song cycle and to me the bleakest and the most beautiful of the whole song cycle. To many Der Leiermann, the hurdy-gurdy-man who the song is about, is the ultimate picture for loss and abandonment. It is fatalistic; the endless grind of life only ended by death. I think they all would be intrigued.

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Sinéad O’Connor / Interview / HUNGER TV

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Read it on HUNGER TV

 

“It’s been seven hours and fifteen days” is one of those lines from a song that always forces you to sing “since you took your love away” It’s one of those lines that brings back to your memory that simple and yet unforgettable video where Sinéad O’Connor looks at you with those fearless eyes. It’s been a little longer than seven hours but after two years, the quintessentially Irish singer-songwriter is releasing her tenth studio album, titled I’m Not Bossy, I’m The Boss and after almost thirty years in the business, she deserves such a title. After all, her breakthrough hit “Mandinka” is dated 1987 and since then, we’ve seen Sinéad shaving her head, selling millions of records with “I Do Not Want What I Haven’t Got”, boycotting the Grammys, fighting the real enemy on SNL by tearing into pieces a picture of the Pope on live TV, and never stepping away from difficult territories like the Vatican, child abuse, sexuality, religion and more recently Miley Cyrus. She has also been ordained as a priest along the way. The glue between success and controversy has always been her powerful and moving voice and the ability to write fragile and yet strong in their honesty lyrics. In her latest work, Sinéad is a real full woman, approaching the subject of love à la Tori Amos, through different characters, lust, theology and illusions. Hunger TV goes on this journey, track by track, with the Irish national treasure, to find out why women shouldn’t think with their dicks and that nothing compares to Lady O’C.

 

HOW ABOUT I BE ME 

“A woman like me needs love

A woman like me needs a man to be

Stronger than herself”

WOULD YOU RATHER BE A MAN OR A WOMAN IN YOUR NEXT LIFE?

I don’t have the benefit of the wisdom that one might have, if one was not limited by being in a human body, in order to make a responsible choice. I imagine that I’d want to be whichever is going to be at the best service. This opening track came together because, about three years ago, I wrote some very funny articles for an Irish newspaper about sex. Ireland is a very sexually repressed place and these articles caused great scandal among the media for their naughtiness. The song was my response to their response and it’s also the title of my previous album How About I Be Me (And You Be You)? I have recorded the song about two years ago but it was a reggae version, so it didn’t quite fit with the sound of that album and I decided to rework it for this album and make it more of a pop song.

DENSE WATER DEEPER DOWN 

“Hijacked kiss made me feel in bliss

And he’s the only love I miss”

HOW DID YOUR APPROACH IN WRITING LOVE SONGS CHANGED OVER THE YEARS?

I don’t really think that I have ever written love songs before, certainly not very much. What happened is that I got very interested in what you call “Chicago Blues” which is a happy, funky blues; people like Elmore James, Howlin’ Wolf, Magic Sam and a guy called Willie Dixon who wrote nearly every blues song that you could imagine. Everything that we know as rock music came from blues and I was watching a lot of what these guys had to say about songwriting. They were talking about keeping things simple and to not sugarcoat things, even the good things and happy moments. I suppose I began to write about characters in the last few years and I also started getting some songwriting lessons really by watching these guys on YouTube. All they were writing was love songs, and with religious or love songs there is a very fine line between corny and cool so you have to be careful and stay on the right side. I love this song; I actually wrote it about fifteen years ago and I had a much longer version of it on another album but it got put out on a sort of closing down record company. I always wanted to take it and chop it down.

KISSES LIKE MINE

“I have a heart that flies away

Betrays me every day

But don’t let it stay heavy on your mind

I’m just not the Keeping kind”

IS IT HARD TO BE YOU IN OUR SOCIETY? SOMEONE OUTSPOKEN AND THOUGHT-PROVOKING?

The song is just a pop song and the only three songs on the album that are autobiographical, or personal, are the opening track, Dense Water Deeper Down and 8 Good Reasons. The other tracks are all characters that I invented. As for your question, it is not hard to be someone who speaks her mind but sometimes it’s hard to live with the consequences of doing it, but that’s OK. It’s part of the adventure

YOUR GREEN JACKET

“Oh how I wish that I could sell myself to you

And do the things that only lovers do

Meet me at that crazy apple tree in heaven

We’ll go dancing all night”

ARE YOU REFERENCING TO ADAM AND EVE AND THE APPLE TREE IN THE GARDEN OF EDEN?

No, and it’s funny that you say that because this is something I’ve always said to my kids over the years when they were going to sleep. I had an apple tree and heaven in my mind so I’d say to them “OK, we’ll go to sleep now and we’ll meet you at the apple tree and go dancing”. I wasn’t thinking about Adam and Eve but it’s an interesting observation.

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THE VISHNU ROOM

“Because Vishnu lives at the core of my heart

Vishnu is and Vishnu starts”

THERE IS A SEXUAL YET SPIRITUAL TENSION IN THIS TRACK. HOW IS YOUR PURSUIT OF FAITH GOING?

It’s really more about sexuality. The Hindu theology believes that sex and sexuality is a sacred connection with the divine and this is one of the reason why I like it. I would subscribe to that belief that no matter how filthy or sweet sex may be, or everything in between, it’s a sacred thing. Even if you are doing it with a total stranger actually. The line you mentioned is from a teaching and Vishnu is the equivalent of the Holy Spirit who lives at the core of your heart, the place from where you love and God is in. I had this thing from probably before I was even born; the fact that I came into this world and, I suppose, I was lucky that I was born in Ireland. At that time it was a Catholic theocracy, so I was the type of child who only took on the good part of that and I believed in Jesus. I still do and I like to study theology from all kind of different religions but I’ve seen that God and religion are not the same thing. In fact, religion is a deliberate obstacle to God and that’s the reason why it exists. It actually creates a barrier between people and God. Everybody can choose to believe in whatever they want to, as long as you are doing no harm to anybody; we are all different and that’s why there are so many flavours of ice cream. I do believe that religion is doing harm to God and cleverly got everybody talking to the wall. When you study Jesus, He instructs you to talk to God, not to the church; He talks a lot about the science of prayers and the power of the spoken words but you see, if you don’t speak in the right place, the science can’t work. No matter how much you are praying. God gave us free will which is possibly a mistake, or at least it’s regrettable, so he can’t intervene unless we ask it and religion have us asking it in the wrong place. We could fix the world very quickly if we’d just ask for what Jesus told us to ask for, and that is not what we want but what the Holy Spirit intends for us. It’s my passion as a belief and knowledge that God needs to be rescued from religion

THE VOICE OF MY DOCTOR

“When I opened my eyes in your bedroom

Saw a painting of a bald lady”

WHAT DO YOU ALWAYS TRY TO REMEMBER TO YOURSELF?

As a songwriter, to be emotionally honest but with as few words as possible. To only use the words that I really need. This song was genuinely inspired by a kind of Vietnamese painting I saw in a shop. It was just a giant, concrete head and face of a man and there was one little tear going down his face. He took up most of the frame and beside him there was a tiny buddha priestess leaning on his cheek. When I saw it, I just begun to ask myself many questions about what was actually happening in the painting. That’s the way you work when you write a song.

HARBOUR

“No man is her father

She fought for something holy

Found only the dreams of Don Quixote”

THERE QUITE A BIT OF ANGER IN THE WAY YOU SING THIS TRACK…

The are approximately four female characters on the record, apart from myself. One character appears in about six songs starting with Your Green Jacket. The central character is going on a bit of a journey where she’s learning the difference between illusion and reality when it comes to matters of romance. Tracks like this one, where she appears, are conversations with the man that she loves and by the time Harbour begins, he has asked her to explain some marks that he has found upon her. The song is her answer to what’s gone on before.

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JAMES BROWN (with SEUN KUTI)

“I know I may look a little square

I know I look like a wooden chair”

WHAT ASSUMPTION MADE BY PEOPLE HURT YOU THE MOST?

What hurt me the most was that I’ve never got the Rear Of The Year Award, because I’ve secretly had the greatest ass throughout all of these years and no one knows. Kylie Minogue won it! It’s the one thing about me that has never been understood the most: how great my butt is! I could still win it though! I’m sorry, I’m just joking with you because I’m trying to not take myself too seriously. Back to the song, this is not the central character but it’s not me either. I guess I just wanted to create different characters, write love songs and have a very romantic record but I also wanted to perhaps show the different types of woman that even one woman might be. The central character is this very romantic woman but she also has these other parts which are represented by other more naughty characters, in Kisses Like Mine and this one. I think there is a bit of every character in each woman; it’s just a question of whether we express all of those parts or not.

8 GOOD REASONS

“You know I love to make music

But my head got wrecked by the business”

IS THERE ANYTHING ABOUT BEING IRISH THAT HELPED YOU COPING WITH THE BUSINESS?

Strangely and ironically it was the fact that I had a Catholic upbringing. I really believed what I was taught about Jesus in particular, and the Holy Spirit. That was the thing that kept me alive during my childhood and led me into music. It’s the thing that led me to deal with pretty much anything in life. At the same time, I was able to see beyond Irish’s theocracy in a way, so it helped me through.

TAKE ME TO CHURCH

“What have I been singing love songs for?

I don’t wanna sing them any more

I’m the only one I should adore”

DOES HAVING 4 CHILDREN CHANGE THE KIND OF LOVE THAT WE HAVE FOR OURSELVES? AS FOR THIS SINGLE, YOU LOOK BARELY RECOGNISABLE IN THE PROMO PICTURES…

I don’t think anything makes it better or worse; it’s not like a switch that you can flick. It doesn’t come from outside or inside you in the form of a baby, it’s an understanding that you reach one day and you wonder “Ah, OK, I get it now!” It was just a way to attract the public and media attention to the album, that’s the only reason. It was not supposed to be the album cover in the first place, I just wanted to throw out two publicity shots and to put on a wig and a dress because nobody ever saw me looking like a woman. I knew that everybody around the world would run the shots and would have to mention the album but then, the record company asked if they could use one of these shots for the album cover. It was a purely calculated publicity stunt. I did the trick.

WHERE HAVE YOU BEEN?

“Colour all gone, no iris in sight

I saw darkness

where I should have seen light”

WHAT HAPPENS TO THE CHARACTER IN THIS SONG?

She has been singing to this man through many songs by now, even though they are not together, and she has these ideas about him, like that he’s a lovely man for example. What happens now is that she has a brief experience with him, and it turns out that she gets quite afraid. This causes her to examine how she found herself in this frightening situation and, as you can see from the end of the album, she begins to talk about safety. It’s basically her response to the fright she has got after receiving what she wished for. Take Me To Church is her eureka moment and she decides that she’s got to be very careful about what kind of songs she writes in the future because all of that romanticising, led her to get what she wanted but, what she thought she wanted, was very frightening and unsafe. In the last track she understands that what she wants mostly is to be safe and what she was actually longing for was herself.

STREETCARS

“If I were dying, if I were dying

What would I want,

what would I want with me?”

WHAT ARE YOU HUNGRY FOR?

Peanut butter sandwich! Music I guess, and playing live. The line you mentioned sees the character talking to herself and not to him anymore. “What would I want with me?” We’re all supposed to live as if everyday was our last day and, if this was her last day on earth, would she want this guy around her? The answer is no, and in fact, what she thought was love for this dude was actually an illusion that led her to that frightening situation. She finally takes these informations and use them to transform herself instead of responding negatively. Her longings switch towards herself  and she’ll make safer decision in the future about what kind of man to be with. She’s not gonna be thinking with her dick! You could really encapsulate the record into that; the first half, she’s thinking with her dick, and then she gets five minutes with the man and decides to never think with her dick again! She decides to be careful about what she asks for.

M.P

 

I’m Not Bossy, I’m The Boss is released on August 11th

 

Sinéad O’Connor live at London’s Roundhouse on August 12th – Tickets http://www.roundhouse.org.uk/whats-on/2014/summer-sessions/sinead-oconnor/

 

http://www.sineadoconnor.com

 

Lana Del Rey / ULTRAVIOLENCE / Lyric-view

Released / June 13, 2014

Length / 65:22

Producer / Dan Auerbach, Lana Del Rey, Paul Epworth, Lee Foster, Daniel Heath, Greg Kurstin, Rick Nowels, Blake Stranathan

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CRUEL WORLD

‘Cause you’re young, you’re wild, you’re free,
You’re dancin’ circles around me,
You’re fuckin’ crazy,
Oh, you’re crazy for me.

NAIVELY DANGEROUS / FLOATING LIKE SMOKE / NEVER TAKE CANDIES FROM A STRANGER

ULTRAVIOLENCE 

Cause I was filled with poison
But blessed with beauty and rage

I can hear sirens, sirens
He hit me and it felt like a kiss
I can hear violins, violins
Give me all of that ultraviolence

Cause I’m your jazz singer
And you’re my cult leader

MASOCHISTIC RITUAL / MURDER AND ORGASM /BITTERSWEET LIKE BLOOD AND HONEY

SHADES OF COOL 

But I can’t help him, can’t make him better
And I can’t do nothing about his strange weather

You are invincible
I can’t break through your world
‘Cause you live in shades of cool
Your heart is unbreakable

RAGING HEART AND GUITAR / MENTAL FIXATIONS / UNREASONABLY SWEET

BROOKLYN BABY

They think I don’t understand
The freedom land of the seventies

I’m talking about my generation
Talking about that newer nation
And if you don’t like it
You can beat it

FORGOTTEN POEM / AWAY FROM MANHATTAN / INVALUABLE RECORDS COLLECTION

WEST COAST

Down on the West Coast they got a sayin’
“If you’re not drinkin’ then you’re not playin’.”
But you’ve got the music, you’ve got the music in you, don’t you?

CALIENTE / EXOTIC / NANCY SINATRA MEETS QUENTIN TARANTINO

SAD GILR

Bein’ a bad bitch on the side,
Might not appeal to fools like you.
We been around while he gets high,
It might not be somethin’ you would do.

THE SMELL OF MONEY AND POWER / HYMN FOR YOUR MAN / DADDY’S GIRL

PRETTY WHEN YOU CRY

Don’t say you need me when,
You leave and you leave again.
I’m stronger than all my men,
Except for you.

SINGING YOUR HEART TO AN EMPTY CROWD / MESSED UP MASCARA AND DIGNITY / MEMORIES LIKE DOPE

MONEY POWER GLORY

The sun also rises,
On those who fail to call
My life, it comprises,
Of losses and wins and fails and falls

SOMEWHERE IN HOLLYWOOD / COLLAPSING UNIVERSE / SHARP IRONY

FUCKED MY WAY UP TO THE TOP

I’m a dragon, you’re a whore,
Don’t even know what you’re good for.
Mimickin’ me’s a fuckin’ bore,
To me, but babe.

Lay me down tonight in my diamonds and pearls
Tell me something like I’m your favourite girl.

LEGALIZING PROSTITUTION / TORI AMOS’ IRREGULARITY / HOW TO TREAT A WOMAN LIKE MARILYN

OLD MONEY

My father’s love was always strong,
My mother’s glamor lives on and on,
Yet still inside I felt alone,
For reasons unknown to me.

But if you send for me you know I’ll come,
And if you call for me you know I’ll run.
I’ll run to you, I’ll run to you, I’ll run, run, run.
I’ll come to you, I’ll come to you, I’ll come, come, come.

GONE WITH THE WIND / WARM TEARS / PATHOS

THE OTHER WOMAN

But the other woman will always cry herself to sleep
The other woman will never have his love to keep
And as the years go by the other woman will spend her life alone, alone

Alone

NINA SIMONE / TRANSMUTATION OF ICONIC SOULS / MIRRORING PERFECTION

BLACK BEAUTY

I paint the house black
My wedding dress black leather too
You have no room for light
Love is lost on you
I keep my lips red
The same like cherries in the spring
Darling, you can’t let everything
Seem so dark blue

A DAVID LACHAPELLE IMAGE / WRINKLES OF EXPRESSION / MOURNING FLOWERS

GUNS AND ROSES

‘Cause you were so much better,
Than the rest of them,
Out of all the others,
You were the honest man.

VENICE BEACH’S SUNSET / PLAYING VIDEO GAMES / A ROSE IN THE MOUTH AND A GUN TO THE HEAD

FLORIDA KILOS

White lines, pretty baby, tattoos,
Don’t know what they mean,
They’re special, just for you.
White palms, baking powder on the stove,
Cookin’ up a dream,
Turnin’ diamonds into snow.

Yayo, yayo, yayo,
All the Floridians like,
Yayo, yayo, yayo,
All the Colombians like,
Yayo, yayo, yayo,
That’s how I do it like

ESCAPISM / RESIGNATION / CLANDESTINO VIBE

THE END  

/ An album to put next to your Amy Winehouse’s collection / metaphysically violent yet fine like an Italian Neorealist film / To listen to as you dress up in an exotic Jean Paul Gaultier dress; or blue jeans and white shirt.

M.P

 

lana

William Orbit / Interview / HUNGER TV – Long Edit

Read it on HUNGER TV

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 Photo by Rankin

British musician and record producer William Orbit is well known for bringing a Ray Of Light in Madonna‘s career back in 1998 and more recently for creating an Alien on Britney Spears‘ latest album Britney Jean. What often goes unsaid is the influence he had in establishing progressive house and ambient music as a genre that could embrace the pop world and, at the same time, be as emotional as a symphony. William made his latest album, Strange Cargo 5, available on SoundCloud and it features singer-songwriter Beth Orton and longtime friend/collaborator Laurie Mayer, who encouraged him to build the first of his many Guerilla Studios. It was within those walls that William started remixing The Cure, Peter Gabriel, Prince and Depeche Mode before venturing on countless collaborations including U2, Blur, Beck, All Saints and Pink. What we call ‘recording studio’ is for William Orbit a longing, a place to call home and a laboratory, where molecules of sound are accurately created and filtered through his witty personality and gentle sensibility. After all, only an experienced musical chemist like him could have arranged Pieces in a Modern Style, an album where classical pieces by Beethoven, Vivaldi and Handel are given a good dose of electronica. As he enjoys a cup of coffee in LA, Hunger TV has an in-depth chat with the talented musician about his 35 years-long career, the ups and downs of success and the only collaboration that can equal the ones with Queen of pop: a Michael Jackson and Freddie Mercury unreleased track.  

 

HELLO WILLIAM, IT’S GOOD TO HAVE YOU ON HUNGER TV! 

Hi there! It’s a pleasure, I like Hunger‘s “visually and culturally hungry” thing and I love Rankin; he’s such a character and a unique man. One of the last times I saw him he was taking photos of me. He had me emerging from some sort of chest-of-drawers with a plastic dog on my head or something like that. The very last time, was at a party that I threw for Madonna at China White. My girlfriend had obtained a beautiful beaded xxx Jean Paul Gaultier kilt, before kilts briefly became all the rage I hasten to add, and M said that if I wore it that night, she’d give me all the royalties for the song we were working on that day. Well I didn’t hold her to her bet, bless her, but wore the kilt with pride. I noticed that I was constantly being goosed by the girls… and Rankin! There are certain people like Rankin and Will.i.am that we have to cherish. I hear people say: “there are no popstars anymore” but when they look back 20 years from now and start to say the same thing about the current artists in 2034, they might proclaim that “it was great in 2014, why can’t we have it like that now?”

YOU RECENTLY RELEASED STRANGE CARGO 5 ON SOUNDCLOUD. HOW DOES IT FEEL TO RELEASE AN ALBUM DIGITALLY AND SHARE YOUR MUSIC IN THIS WAY? 

First of all, well done for spotting it! Yes, I’ve put it out in the lowest possible profile. Music business is changing so fast that I decided to just do my own thing; you’ll drive yourself mad otherwise, unless you are an adventure capitalist but it’s creativity that we are talking about. You do what you do, hoping that people will come around to it eventually. I’m really good at making music but I’m really bad at selling it; I just cannot do that. It has been such a disappointment in the past, marketing and press wise, with the records I’ve done on my own and it always left me thinking “why did I do that?” I feel terrible afterwards and though I understand that you have to make a living, I know that it’s not going to come from my music and selling downloads so, why going through the indignity? Also, the professional reviewing elite don’t really apply and what I do is to see what fans say. They are brilliant and always very polite. If you read through the lines of what they are saying about your music, you’ll find out whether you’ve done a decent track or not. That’s what fans do, they’re going to let you know in a way that is impossible to challenge. It can hurt sometimes but it’s the best way to release this kind of music and in due course you’ll see what happens. Water From A Vine Leaf is a track that I released many years ago and everybody is talking about it all over the internet but, believe me, when that came out, it did very silently so I’m glad that you found out about Strange Cargo 5. The response I’m getting is certainly fulfilling. You see, I’ve just released a symphony and it only got 6 listens but I’m happy. I’m going to be living somehow, I’m perfectly capable and of course producing artist pays well.

THE ALBUM HAS BEEN RECORDED ALL OVER THE WORLD AND IN SEVERAL OF YOUR GUERILLA STUDIOS. WAS THIS INTENTIONAL OR IT’S JUST YOUR MODUS OPERANDI? 

Going around the world is my life, I’m a nomadic and I have so many studios. As a result of that, to answer your question as you’ve asked it, I didn’t go around the world specifically to make the album. I travel and make music, in Palm Spring or Las Vegas or you name it! There’s always a studio everywhere I go and I’m always in them with these pieces of music with no identity yet. I love studios, they are very valuable places but there are also homes and laptops. Somehow I always feel at home whenever I’m in a studio.

WAS THERE ANYTHING IN PARTICULAR THAT YOU WANTED TO ACHIEVE WITH THIS ALBUM? 

I wouldn’t be able to make the album without my longtime friend and collaborator Laurie Mayer and that is absolutely true. I was actually in a quite difficult place because of a drinking issue that I overcame and I had a management company that I left. She basically got me healthy again and got me feeling inspired. She’s somebody I write with so it was important. There’s also Rico Conning, another member of our little group, and I’m really enjoying making a robot with him. He has been developing this musical robot and we’re planning to use it on stage in London in the autumn, it’s a big deal and a technical challenge for us; literally time consuming. We’re going to film it on YouTube in June so all sorts of interesting thing are happening that keep me busy. I’m also writing a book but I’m keeping this to myself at the moment because if I mention it on my Facebook page, people wouldn’t believe me. They know me for somebody that works with Britney or Madonna but there’s room for everything in my world. The book is biographical in a way but it’s more of a social commentary. I’ve been writing and writing compulsively and I’ve never published anything so, let’s see how it goes. As for music I’m working with Queen on an unreleased Michael Jackson and Freddie Mercury track, Rico has done a beautiful remix, he’s so talented. They had a track they recorded in the early 80s but nothing happened to the song and it didn’t make it down to any release. I’ve developed it with Brian May who added more guitars and it has been an enjoyable process; they were such incredible singers. When you work on a track with a vocalist, you really start to get inside of his or her soul.

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I GUESS THE VOICE IS A PECULIAR ELEMENT WHEN YOU DECIDE TO START A COLLABORATION OR PRODUCTION… 

Absolutely, I get so into it. It’s the best thing in the world and, probably, the first thing human beings ever did that you could call music, had to do with either the voice or banging a stick to a wall. It’s a fundamental core to music creativity. The voice does something and when you like it, obviously you listen to it over and over again, especially if you are paying attention to details as I do. Bono, Madonna, Britney, Michael Jackson or Freddie Mercury are all so special and they didn’t get so big just because they put on great shows; they got to be that way because their voices are unique: you hear two words and you know who is singing. This is fascinating to me because you get so much emotional information just from that. When I have the voice and melody in place, I’m the happiest person in the world! On the other hand, I can’t stand the marketing’s bullshit, I’m really bad at it, it’s probably the reason why I’m not more famous than I am. I don’t disdain it by the way, it is pop music we’re doing and it’s always been that way. You can’t put on a circus from nothing, you got to tell everybody, it’s important but I’m just not able to do it myself.

IT MUST HAVE BEEN OVERWHELMING WHEN YOUR PRODUCTION WITH MADONNA ON RAY OF LIGHT  RESULTED IN 4 GRAMMY AWARDS… 

After the Ray Of Light experience, success tore me up to be honest. The force that makes you strive to do better becomes even more powerful and you don’t need anybody to motivate or question you. This is why I’m happy to do my own things and even when you just put something out on SoundCloud, I feel exactly the same sort of fear of failure and hunger for excellence. The amount of time you have to spend promoting music is enormous. It’s good if it works for you or, if you are like Katy Perry for instance, you have to go and promote your work otherwise it loses the whole point. If you do a symphony on the other hand, there’s no point in promoting it because you can’t persuade people to like it. This is why I really love doing the Facebook page, it’s a very good platform and it integrates with SoundCloud and I love it. I just hope that we won’t see adverts on there. Interacting with fans is great and surreal. I wake up in the morning, check their comments and they always say interesting things about music and they also criticize. It’s a great source of information, I don’t like Twitter as much.

I PAINT WHAT I SEE IS A TRACK AS BEAUTIFUL AS BETH ORTON’S VOCALS. I KNOW YOU LIKE DRAWING, WORKING ON CARTOONS AND PHOTOGRAPHY. WHAT DOES INSPIRE YOUR MUSIC VISUALLY? 

Light. The way it plays on things. This is how I see music, it’s totally visual. The context informs the music like a candle in a painting; the way it is placed and what the light reflects. I often start with a visual image in my head and music forms around that. In my mind they are the same.

THE TRACK MY FRIEND MORPHEUS IS ADAPTED FROM THE ARIA “AH! NON CREDEA MIRARTI” CONTAINED IN VINCENZO BELLINI’S OPERA LA SONNAMBULA. IT MEANS “I DID NOT BELIEVE YOU WOULD FADE SO SOON, OH FLOWER!” AND IT IS INSCRIBED ON BELLINI’S GRAVE. WHAT WOULD YOU WRITE ON YOURS? 

Oh gosh! I hope I won’t be forgotten but let me think… It would probably be “I Am Still Here”

BEFORE YOU BECAME A MUSICIAN YOU HAVE DONE MANY DIFFERENT JOBS AND LIVED I. SQUATS ALL AROUND EUROPE. DO YOU THINK THESE EXPERIENCES SHAPED YOU AS A MUSICIAN? 

As a musician I’m not sure, I’ve done everything in my life and I guess it shaped me as a person. I so desperately wanted to make music and if I started earlier, before I was 23, maybe I would have been better, I don’t know. I think it made me value the fact that I can do music for a living; you know exactly how it’s like to not be able to. It gave me a chance to relate to people out there who would love to do it but, at the same time, they have to get a job and feed their families. Sometimes their passion for music is even greater than mine! I understand people who write to me and maybe they’re working in the bank and as soon as they go back home they make music and it’s the thing they’ve longed to do the whole day. I can’t help them making a record but I do understand that longing. I don’t want to sound like one of these guys who say how difficult it was in the old days; it sounds old-fashioned but it was, for me anyway.

LAURIE MAYER FEATURES IN A COUPLE OF TRACKS ON YOUR ALBUM. YOU TWO FOUNDED THE FIRST GUERILLA STUDIO IN LONDON. HOW WOULD YOU DESCRIBE THE FEELING OF BEING IN A STUDIO? 

It feels great because it’s like collecting memories. When you finish an album, months go by as you master it and you reach a point where there are no more ifs and buts. It’s done, for better or worse, so you go back home relaxed and listen to it with a different set of speakers for example, and it all comes back to you. All of the sounds of the record are like reminders and memories of the places where you’ve been recording. You don’t listen to it as music but as a scrapbook of all those experiences. Memories come floating back and that’s great, especially the ones from Las Vegas! It’s pretty crazy there and I can tell you that your imagination is probably nothing compared to how crazy it was there.

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YOUR MUSIC IS HIGHLY EMOTIONAL AND CINEMATIC. HAVE YOU EVER CONSIDERED COMPOSING A SOUNDTRACK? 

People use my music for movies sometimes but creating an entire score is a different story. You have to be a certain kind of person with the ability to be very quick and on your feet in order to change ideas; it’s something I don’t think I posses. I think I’m better as a producer because you put yourself at the service of the artist. I’m an artist myself but when it comes to producing someone, I literally take my hat off and I become somebody who is at the service of the artist’s vision. It’s all about the artist, not me. I only bring my skills and I’m really good at it; I enjoy working with this willingness. It’s the same with movies, the composer has to put himself at disposal of the director and be very musically adept; it’s like being in a limbo and that’s not me. I have not the ability of composing music as it is done. I know how to make a good record and when people ask me why I don’t score movies, the answer is that I probably can’t. I’m happy to kind of create the movie in my head when I make music; music and the lights in a picture are exactly one and the same to me. Don’t get me wrong I’m a movie buff! I also watch movies about directors and therefore I’m aware that I’d probably disappoint somebody if I’d compose a score! I’d have trouble changing things and not because of my ego, it’s just the way I work. I’m not a painter like Michelangelo who could reproduce anything. I’d love to supervise a score on the other hand, finding the right people and going in the studio with the composer but I don’t know. I guess that world is closed for me.

I WOULD TAKE THAT RISK! ISN’T IT ALL ABOUT TRANSLATING YOUR EMOTIONS IN THE END OF THE DAY? 

Oh thank you! Yes it’s got to do with that and I know it’s not easy to write about music because it’s so impressionable compared to writing about movies for example. What I’m trying to say is that I usually don’t get asked much about my emotions during interviews, and it’s good that you did. I don’t get asked because I’m not a singer I guess, I’m not bearing my soul with singing lyrics but I can assure you that every sound and every aspect of what I do is extremely tied up within myself. If it doesn’t fit emotionally then it’s not happening: it’s all about that. I am not comparing myself to Shostakovich, I’m nowhere near that. Except that after he had composed one of his wondrous symphonies and announced its title, he’d be asked to explain some bits of his music or why something sounded in a certain way in the scenario he had created. About the siege of St. Petersburg he would later say that the music itself inspired him to write the music. It’s impossible to convey this to people. They need something tangible and that’s the difficulty in facing music. A visual artist will deliver paragraphs of exposition but musician can’t do that, it’s not in our DNA.

We want our music to be heard in the end of the day and the reason why I admire film composer and I collect all the records is because a lot of the most exciting music comes from them. Alberto Iglesias and Yann Tiersen for example, anyone who is not Hans Zimmer! I don’t want to hear another Hans Zimmer, I don’t even think he does scores anymore. He just has a team of people, like Howard Shore who did The Hobbit trilogy; he goes in there and gives us two hours of the same old stuff. What the fuck? There are some brilliant people out there who get less money than they do. The classical world is in disarray. They are still struggling with the legacy serialism and they’re afraid of melodies. They spurn the film world. However, I find very exciting what’s happening in modern choral music. There is tremendous innovation happening there. Innovation and beauty.

I THINK THAT AS LONG AS PEOPLE WILL BE EAGER TO LISTEN TO SOMETHING MORE PROFOUND, THERE WILL BE ARTISTS WHO MAKE INTERESTING MUSIC. FOR EXAMPLE, YOUR PRODUCTIONS ALWAYS PRESENT THE POPSTARS WE KNOW SO WELL UNDER A DIFFERENT LIGHT…

What’s interesting is to identify something within the artist that hasn’t necessarily flown free before. You can do this brilliantly and surprise yourself but you have to trust. Actors have to do this! The first thing they do is the trust game, consisting in leaning back with your eyes closed and let somebody catch you. It’s crucial. When Anthony Hopkins goes on set he’s told what to do by the director and there’s a script to follow. What he then does brilliantly is bringing his talent within this framework and it’s very effective. It’s different in the music industry because everybody’s got their own individuality. We don’t work in a big set and record producers’ role is to be passive aggressive; we are different individuals and it makes it hard to work sometimes. People are hesitant to give you a chance or at least try something out and I find it a bit exhausting. Actors are not given enough credit for their talent; you don’t realize how good they are until you see someone acting really badly. If it was up to me, to executive produce and overview the whole process of Madonna’s MDNA and Britney’s Britney Jean, I do feel I could have done an absolutely exceptional job. Something as powerful as Ray Of Light but I guess I don’t have the ability to inspire this kind of managerial level of confidence.

I went through a period where I convinced myself that I was rich because I was lucky with Ray Of Light and its big success and then I spent all of that money. You can’t be rich and do the music that you want. Once you become one with that choice and you don’t drive around, looking at big houses and wishing to have them, then you realize how fortunate and blessed you are to be able to make music. You can’t have everything; I’m in my fifties and it took me decades to get to this point and most of the people I work with professionally are half my age…

ARTISTS ARE ALWAYS LOOKING FOR SOMETHING NEW AND DIFFERENT. HOW DO YOU BALANCE IT WITH YOUR ARTISTIC INTEGRITY? 

Well, it is not your record, it’s their record. I can get frustrated with artists when they have a pure and passionate vision for something unique and special at the beginning which then becomes watered down by commercial pressure, or trendiness. You should never go down that road because you will end up sounding and looking dated. It’s like torturing yourself. I’m a very trustworthy person but I find it impossible to inspire a kind of trust in the music scene. Recently people are suspicious, they thought I was messing up with All Saints and then it went on top of the charts. I see the look in their eyes, they think I am mad but I always say “what are we doing here? Do you want a record that will last forever or what?” I’m happy anyway,  I’ve just released the album and kept fans happy uploading different versions of the Madonna and Britney albums. Let’s give the fans what they want! No one told me off yet.

PEOPLE GOT SO EXCITED WHEN THEY KNEW YOU WERE INVOLVED IN MADONNA’S MDNA. FANS HAVE ALWAYS BEEN WAITING FOR ANOTHER RAY OF LIGHT  TO COME ALONG. HOW DIFFERENT WAS IT TO COLLABORATE WITH HER ON THESE TWO DIFFERENT PROJECTS? 

I knew people were excited, they ask me about a new Ray Of Light every minute of the day. Think of it this way: Ray Of Light came about very spontaneously. We were in this studio in a rather unfashionable part of LA where nobody came. The record company guy came down only once and made some comments and I do remember Madonna telling him “This is art. This is how we are doing it. We’ll let you come and have a good listen but we’ll see you in two months when it’s done.” It was a very pure experience; it was all about making that record and nothing else. I wasn’t sure how this was going to work out at the very beginning but the moment I saw her jumping into the tracks in such an artistic way, I instantly thought how great it was going to be. She’s an amazing person, producer and it was a true collaboration. It’s important to get this across; I don’t like it when people assume that I was the clever one doing the whole job. It has been a bit of a curse and I’d feel mortified if I was her because on the album there is written “produced by Madonna and William Orbit” and that’s what happened! She didn’t put her name there out of vanity, she was fucking in there with me and it wouldn’t have happened without the two of us. As for MDNA it’s important to say that I jumped on the project later; she had already started it. She had a lot of stuff going on, I honestly don’t know how any human being could cope with making an album, directing and producing a movie, launching products and everything that comes with just being her. I mean, I had to cancel a couple of appointments this morning because I was overbooked! She’s so organized and such an incredible time manager, just like a general. Anyway, we were just not really able to lock the door and everybody out for MDNA. She was having such a great time at first but it somehow became very complex for everybody. I would have mixed it myself if I could, or only together with Madonna in front of the mixing desk because she’s a great mixer. We have spirited debates about things but we both always end up in the same direction because we’re good at mixing. Moreover, I should have told her that technically I did more album than she did and even though there’s nothing I can ever do to even come close to what she achieved, I know she can trust me on the technical side of things. Just let me fucking be in charge of the technical, it’s so important! I would have dropped three of the six tracks that she had already made with the other guys. They were not good enough in my opinion; too puerile. As for the remaining three I would have suggested to put more depth and make them more special. I had the best team and other brilliant songs and this is why I am still a bit puzzled to these days. It’s not that I ever give it a second thought; I’m only talking about this because you’ve asked of course. Life is too busy to worry about stuff, you have to move on. Any saying I had on my part are down to me, so if I have made some mistakes then it’s my fault.

ACTUALLY THE SIX TRACKS YOU PRODUCED ARE UNQUESTIONABLY THE MOST POWERFUL ONES. I GUESS MADONNA WAS IN A DIFFERENT EMOTIONAL PLACE DURING THE RAY OF LIGHT ERA… 

It was definitely an important time when a lot of things happened. The day we were recording Swim in the studio, Madonna got a call from her friend Donatella, informing her about that terrible thing that happened to her brother. We kept on recording and of course it had some effects on the song. On a more positive side she had a daughter, her first child, this tiny little thing. What a perfect time to be writing and recording! What she does in the studio is fantastic and as I’ve said, her involvement in that album is much greater than what she has ever been given credit for. We did not have a plan but she’s good in driving things along, in fact when we finished Ray Of Light she immediately set up a listening party for the people at Warner. As we were waiting outside in a little sitting room, picking on strawberries and biting our nails, I realized “shit, Madonna has no idea about how they’re going to respond! She’s nervous! Madonna does no nervous!” I did not expect her to feel that way because she never shows it. As it turned out everybody loved it and started jumping and to me it was a really great example on how making a really good record. I mean, that woman has never lost any money even on a bad year but still… It’s different with Britney for instance, because Madonna is a different kind of artist of course, but nevertheless she deserves to be given a chance and I wish I had the possibility to do what I can do for her. Maybe let’s talk about this in ten years, I’m here to stay. I feel reborn and excited so don’t look at me as a seasoned producer because I am ready to go with the same zeal I had for the first record. If you manage to live on music for 35 years, it means that you’re a hard worker, smart and that you’ll definitely carry on until your death. It’s a long horizon, there’s no rush.

ALIEN, THE TRACK YOU PRODUCED FOR BRITNEY, OPENS HER LATEST ALBUM AND IT SETS A WONDERFUL VIBE. DON’T YOU THINK THAT THE REST OF THE ALBUM IS A BIT OF A LET DOWN? 

Oh God, yes. When I thought I might be involved, I made a point of listening to every track I could find. And the ‘Britney Army’ would send me links to obscure numbers via my Twitter and Facebook. I became a super fan at that point and her voice was superb. I joined the ‘Army’! For some reasons, nobody can really understand these things,  she just has that special ‘thing’. If you listen to the remix of Alien I recently uploaded, it’s more indie pop and I did it for fun but hey, listen to that voice! It’s special. My specialty with artists is to make it seem like we’re not working and quite often they’d say “we’d better start recording” and I tell them “you just did!” They insist to do it again properly but I try to let me understand that if I’m smiling, it means I’m happy with what we’ve just recorded; it means they touched my soul. When artists unconsciously bring this out, I’m the happiest man in the world. I’m slow to make a record, you probably wouldn’t hire me if you had to have something done by tomorrow but when it comes to be in the studio and recording vocals, everything runs quickly and it’s fun. I know what I want technically and what I can work on later, so there is no point for the artist to do it over and over. I know what I can fix and I’m not talking about auto-tune but rather about spontaneity; that something great and special.

WHAT ARE YOU HUNGRY FOR? 

Knowledge. I’m brought up that way, I’m addicted to knowledge. I’m starving for it, aren’t we all? I always need to know more, particularly things of a scientific nature, or philosophical. If I had all the time in the world and someone would tell me that music will completely cease to exist, or I went deaf, I would definitely take a degree course in philosophy. I have no education and I left school at a very young age and would just spend all my time reading the classics and messing around with inks and paints.
As musicians we can’t be social activists but there’s no reason why any human being can’t help each other. I’d love to have more knowledge and make things better. I probably sound like a beauty pageant contestant when asked: “what do you want to do in life?” and the answer is “I want to make the world a better place.” Anyhow, maybe despise is a strong word but greed is something I really loathe. It’s all about money and people do terrible things for it. They think they always need more money in the bank and more influence than they have.

M.P.

William Orbit on Facebook / Twitter

 

 

 

Yann Tiersen ∞ Composing the sound of Infinity

Interview for his new album Infinity – Read it on The GROUND Magazine

I think it’s great to be able to communicate with the world, it’s brilliant. On the other hand, economical globalization is the worst thing that happened to us. It’s horrible and the opposite of what we do as artists. I’m afraid that this situation will lead to the end of the world.

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“Technically and legally I’m French but from where I come from, culture is really different compared to France” tells me Yann Tiersen about Brittany and the Ushant Island, the place where he finds himself for our conversation. It’s the place where he was born and one of the three islands that inspired his latest work, titled Infinity. From the secluded north-westernmost point of France, Tiersen continues to play and experiment with music, sailing away from the safe harbor and etiquette of the Amélie composer, the 2001 surreal film by Jean-Pierre Jeunet. The timeless, and French, soundtrack was heavily driven by the accordion and piano but it also featured a spinning bicycle wheel. It’s fair to say that Yann Tiersen has never been the typical kind of composer, in fact doesn’t see himself as such; he’s an anarchic musician and a visionary. Through his studio albums and countless collaborations, as the instruments he can play, he pushes music closer to our us, creating a universal soundtrack and language made of different moments, textures, sounds and noises. Everything life is made of.

For someone in the middle of rehearsal for his upcoming tour, Tiersen sounds relaxed and I immediately understand that his sensibility is the same as the one we feel in his music. As with every true musician, music is the only meaningful language worth speaking, the only one he knows to communicate. Nevertheless he needs to use words to tell me how good he always feels about going on the road, “We’re almost ready and the set list is finished”. The making of Infinity has definitely something to do with his peaceful state of mind; the album is so minimalistic to a point where, the first time I heard it, I found myself in front of an immense landscape where something esoteric was slicing the air. This feeling is remarkable if you think about the layered process involved in the creation of these sounds.

“I was pretty relaxed and excited to finish with my modular setup. I wanted to avoid all of that without ending up with just modular sequences, so I did something radically opposite. The starting point was completely acoustic and I played with the cliché kind of things let’s say, but why not?! I went to Iceland just with my toys instruments for two weeks and I recorded with the intention to transform everything afterwards, through the modular and computers. I’ve kept everything; even the bad ideas and I used those songs as a base for new songs. It was like doing remixes of songs that don’t actually exist yet, it was quite funny to do”.

The endless back and forth of the album, from acoustic to electronic and digital, and then back to analogue, is in line with Tiersen’s working ethic. His previous work, 2011 Skyline, already contained tracks from the recording sessions of 2010 experimental Dust Lane, in the same way Amélie‘s soundtrack was made of a selection of compositions from his first three albums and the then upcoming L’Absente. Such restlessness creates an ever changing sound, always open to new frontiers and fusions of classical, folk, and indie music. “After a long time, I had this idea to work with acoustic instruments. The last song from Skyline is Vanishing Point and I did it during the mixing with my computer. It’s made of samples from all the songs of the album so I was really excited about pushing things further for the next album. I like to transform things and maybe for the next album I could do the same but with free recordings during my travels. I could try to recompose the sound, manipulate it and try to make songs bases from that”.

Tiersen may be compared to contemporary composer Philip Glass or referred to as the Gallic Michael Nyman but none of these two smashed a violin at the age of thirteen to buy an electric guitar, like Tiersen did. His love for the punk culture will not only shape his avant-garde style but also affect is vision where there are no rules in the world of sound. Instinct and freedom of expression has always been more important for Tiersen than his classical training but he doesn’t see his artistic journey as a series of random shifts. “I think that my music is not really changing, it’s just evolving. I need to feel that what I’m doing is genuine as it was at the beginning and in order to reach that, I need to explore new ways of making music. This is the only way for me to be able to play music and let ideas or inspirations come to me”.

Infinity does not only represent a return to acoustic music as the base for a new textured sound, it also stands for a connection with Nature through songs inspired by stones, minerals and their infinite nature. “I live on an island and I see nature, especially stones and stony places, all the time”. Le Phare, his third album, was inspired by the light house of the island that through his rays of lights revealed to Tiersen hidden details of the land. This time around he goes beneath the land, using different languages trying to reach a universal meaning. Steinn is sung in Icelandic, Grønjørð in Faroese and Ar Maen Bihan in Breton. The closing track of the album, Meteorite, is a true piece of poetry reciting “my heart could be a stone or a sponge” as to express our carelessness or openness towards the wonders of nature and our lives. “I am a massive fan of Aiden Moffat and I asked him if he was keen to write some lyrics about stones. He came back to me with this beautiful piece and when I first heard what he did, I thought that Meteorite had to be the last song”

I would never dare to say something like “out of tune” to someone like Yann Tiersen but as it slips out of my mouth, he gives me permission to use it to describe the somehow distorted and haunting melodies of Infinity. Every track is as complex and layered as the geologic process that formed the Grand Canyon, and yet the outcome is at times introspective and at times joyous like the first single A Midsummer Evening. “Everyone chose it, I guess because it is the catchy one I don’t know!” he sincerely tells me about it before continuing “You can say out of tunes because I love out of tune things. There is this piano at the beginning of the song and I detuned and actually during the whole recordings it was out of tune. When everybody found out they just said that maybe it was better to tune it, at least in one point of the song. It was funny!”

Despite being tired of talking about Amélie, Tiersen’s contribution to it, as well as on 2003 Good Bye Lenin! and 2008 Tabarly, are all examples of how the music for a film can sometimes be remembered much more than the film itself. What Tiersen explains to me is that he’s now far away from those little streets of Montmartre and that Amélie girl played by Audrey Tautou. “Actually I don’t really see it as an important moment of my life. I am happy with it, it’s a good film to have my music featured in but on the other hand, it is really far from what my music is about right now. I am also really far from the Parisian scene and though I am proud of it, I’m also a bit embarrassed because Paris is almost a concentrate of what I really hate; I hate Paris and people always think about it when listening to that soundtrack so, it’s strange to be associated with that since it’s far from me”.

It seems redundant to ask him about a possible new soundtrack in the future; in fact the answer is no. Still, Tiersen gives me an insightful point of view on the relationship between music and images: “I have never been into soundtracks; my former music is not a language but something really abstract. Making music is a sort of DIY for me and I want to be free to experiment and play with music. I really need to have fun with what I’m doing and, on top of that, I think that it’s impossible to make music from images. This is why I don’t really like soundtracks”. I can’t allow myself to be disappointed by his statement because, even if another soundtrack won’t come along, I now understand what he means: every album he makes is a soundtrack on its own and it’s up to us to imagine the film we want to see as we listen. On Infinity, he outlines a few details like his love for Iceland “I felt at home the first time I was there; it smelled and felt like home with its impressive nature” and his fascination with stones and minerals. The rest is left for our personal discovery.

As I picture him with his toys instruments in Iceland, I ask him about his first childhood memory about music, and just like the lighthouse that inspired Le Phare, light symbolizes his first encounter with music. “I know that what put me to music was light actually; it was an exhibition happening somewhere and it impressed me. You had to walk through many lights and there was music so, the whole thing really struck me. My memory is blurred but I definitely remember the feeling”. Those lights keep on showing him the way and one thing is for sure: they keep his teenage sensibility alive. “The hardest thing about being a musician is to keep playing, even if it’s not working. Beside that it is actually a dream life!” he say with no filters “my life didn’t change that much, I live as if I was still 15 thanks to music and the fact that it’s my living. It’s true, I became a father along the way, but I didn’t really change me. Growing up doesn’t mean that you can’t do silly things anymore; actually I do more silly things right now! I’m more in peace with myself and I enjoy my girlfriend and kids. As you grow up you enjoy the real things a bit more”.

Tiersen is ready for another extensive tour and will be presenting Infinity for the first time in an intimate show in London, at the ICA [Institute of Contemporary Arts] and having the chance to travel the world, and gaining access to different cultures is for him the only good thing about globalization. “I think it’s great to be able to communicate with the world, it’s brilliant. On the other hand, economical globalization is the worst thing that happened to us. It’s horrible and the opposite of what we do as artists. I’m afraid that this situation will lead to the end of the world; people are not able to find their place and feed themselves in this world. If we are able to talk to each other, we can rebel to all this and I think it’s the only way to avoid going to war, and save ourselves”.

Does Infinity also represent the artist’s desire for escapism? Not really, it’s more of a reflection or, as Tiersen simply tells me, “Infinity is life itself. It’s quite an optimistic vision on things like unity and life”. The sound of Infinity is not meant to provide us with some philosophical answers. Infinity is the pursuit of life itself, with its unsettling sounds, outburst of happiness and magnificent wonders. The language of Nature is as universal as the different languages we hear on the album. Yann Tiersen is the mere, and master-composer of a positive moment that allows us to experience our own view on mortality and immortality. “It’s good to be positive at the end of the journey, or at least at a certain part of your life”

Infinity is released on May 19th via Mute Records

Tour Dates and Tickets Info on www.yanntiersen.com

 

 

A Conversation with SAMARIS

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We usually think of Iceland as a magic place, a mysterious island beyond time and space where Nature still runs its course peacefully. It’s true that music coming from Iceland, from Björk to Sigur Rós, is as breathtaking as the islands’ landscapes, but progress and modernity is something that won’t hesitate to step into this fairytale land. This is one the many things The GROUND found out talking with Jófríður Ákadóttir, the enchanting voice behind Samaris. The trio, including clarinet player Áslaug Rún Magnúsdóttir and electronic producer Þórður Kári Steinþórsson, is set to release their new album Silkidrangar on May 5th, a piece of work where pagan voices collide with minimal electronic bits, creating an alienated space that feels like the perfect place to reconnect with Nature.

Silkidrangar transcends language and symbolism, casting a spell on the listeners who will discover the authenticity of Samaris’ music and their beloved island. Talking about tradition, modernity and the importance of surrealism, Jófríður welcomes us in the glacial yet romantic world of Samaris.

 HOW DID SAMARIS CAME TOGETHER?

Áslaug and I have been friends for a long time, we both attended the same music school and played the clarinet. We were really bored of everyday life so, we started talking about making a band that would do something different. Áslaug knew about Þórður being a producer, they went to the same elementary school, and so we contacted him to explain the idea we had in mind. He was on our same wavelength and this is how we went to the studio in our school. The outcome was this: Samaris. It’s the name of this female character from François Schuiten’s graphic novel called ‘The Walls Of Samaris’

I GUESS THERE MUST BE A GREAT CHEMISTRY AMONG THE THREE OF YOU…

I guess we all have a great chemistry because we are all good friends. I think a lot about the melodies and chords’ structure, basically about the notes and the way they come together. Þórður thinks a lot about the sound and groove we want to give to the music. It is a very interesting process because we get inspirations from very different directions.

ARE THE LYRICS OF YOUR NEW ALBUM STILL BASED ON 19TH CENTURY’S POEMS

Yes, definitely. We kept on using that concept and develop it a little further; it’s very interesting to us because it represents the whole idea of combining everything we love. I love very much folk music and traditional music while Þórður is all about the 90s, house music and electro music. Áslaug brings in the classical elements, from the clarinet and her classical music training, so these combinations become our sound. This is our ground and when we create, we layer on top of it; it’s our inspiration.

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 WHAT ARE THEY ABOUT?

They all have some sort of mysterious feel to them, and they say a lot about Nature. Most of them are from the Romantic era, when poets were allowed to love Nature and had big feelings towards it; they respected Nature and were even scared of it: this is something we do really appreciate. They’re also about the circles of life and love to a certain extent, there’s some kind of love conflicts in a few songs but always in a mysterious way. It is not a direct language, the poetry covers up the meaning so you have to think about what is happening and what are they trying to tell you.

‘SILKIDRANGAR’, THE TITLE OF YOUR ALBUM, MEANS ‘SILK CLIFF‘. WHAT IMAGE DID YOU WANT TO CONVEY?

We wanted to give a very sort of visual title because when you hear it, or at least when you know the translation, you get an image in your mind. You think of something surreal that doesn’t really exist but at the same time it’s very beautiful and it feels distant. All of these sensations can be captured in one word, ‘Silkidrangar’, and it means a lot to us. It’s not even a real word, it’s a put-together word.

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 WHAT DOES INSPIRE YOU VISUALLY?

We have been working a lot with faces for our album covers, the previous one had a face of a baby on it and you couldn’t see his eyes; he’s like a crying baby. It was more of a painting with a surreal feel to it. The cover for this one is not a painting but a combination of thoughts that we put together in a way that you don’t really know what it is. Your brain sort of makes a face out of it and it’s very interesting. It is usually about faces, or dogs or a lion! Anything surreal and symbolic that triggers a reaction. You have to use your imagination, at least to some extent, when you listen to us. We sing in Icelandic after all, and you don’t know what’s happening.

HAVE YOU EVER CONSIDERED TO SING IN ENGLISH?

We have definitely considered it, we thought it would be fun but we don’t want to translate the lyrics. We would rather create song in English from scratch, so it would be true to itself. I don’t like it when musician write something in one language and then they just translate it; it looses the original idea, so we’d rather work the other way round.

MANY PEOPLE ARE FASCINATED BY ICELAND’S MUSIC AND LANDSCAPES. WHY DO YOU THINK IT IS SO APPEALING?

It think it is because people don’t know much about Iceland, it’s a sort of isolated place and most of the people haven’t been there so they have a fairytale idea of what is happening there. I think this is why people are fascinated by Iceland and I personally appreciate that they think about its nature because it is something we have to preserve and protect. I wish everyone would do something to support it and that our music could make people think about this in some way, and make them want to try to protest against some injustices happening right now. Big companies, especially from abroad, often come to build huge factories and the Icelandic government is weak sometimes, because it only thinks about the money. They don’t see that building factories, trying to make energy out of the nature, is actually ruining nature itself. They should protect it because there is only one Iceland in the world, this is the only land we have and we must not destroy it to make money out of it. It is a very special place and it has to be like that forever without declining.

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WHAT WAS YOUR MAIN FOCUS BEHIND THE ALBUM?

We thought about more details for this album and through the sound we wanted to create an experience the whole from the first song to the last. If you listen to the album you have to think about that, you have to think about its context because nothing has been added by chance. There are also more details in the percussion for example, and we used the clarinet to create sounds-capes rather than melodies.

IS THERE ANYONE WHO INSPIRES YOU VOCALLY?

I was very much inspired by Joni Mitchell when I was a kid. I know we don’t sound the same at all but I was inspired by her songwriting. She’s my favorite singer.

THE VIDEO FOR ‘Góða Tungl‘ IS VERY SYMBOLIC, WHAT WAS THE IDEA BEHIND IT?

The idea behind it is what people do when they can’t sleep. It’s about sleeplessness and the song is like an ode to the moon and how it helps and lends its light to those who are tired and suffering. The video builds around that and what happens in darkness, how the creatures of the darkness go into the light. It almost got a sexual feel to it at the end, it gets a bit provocative and I like that.

HOW DOES IT FEEL TO TRAVEL THE WORLD COMING FROM SUCH AN UNSPOILED PLACE?

I love traveling, it is good to go to big cities. Reykjavik is so small and when you go abroad, you get the feeling that you belong to a much bigger crowd. Keeping a balance is not easy, we travel a lot, jumping back and forth; the last few months have been a strange way of living. In the future we won’t come back home often, so we will get more out of each journey and each day. Traveling is a healthy and necessary thing for someone who comes from a small society. It feels good being on the road to promote Something you have been having in the make for so long. It’s like having a baby in your stomach and giving birth to it. I guess it’s the same feeling, though I never had a baby before, so I don’t know!

IS FASHION SOMETHING IMPORTANT FOR SAMARIS?

We just get inspirations from the internet, we pick a few things that we love and put them on right before the show! Sometimes we make things ourselves and we get help from our designers and visual artists friends. It’s very spontaneous, we don’t have one specific theme we work on, it’s always different time to time.

HOW DOES IT FEEL BEING A FEMALE ARTIST IN TODAY’S MUSIC BUSINESS?

I think it’s good to be a woman, it’s getting better and better. We are reaching this point where men and women will be equal; that’s my hope at least. Pop music culture is all about sexuality and if you are a woman, you should be selling your body along with your voice. Our scene is more liberated, we are free to do what we want without playing with our sexualities I am not saying it is a bad thing to do, there are no problems in showing off your body as long as it comes from yourself. It’s wrong when someone is telling you that you can’t make a music video without wearing a bikini.

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YOUR FAVORITE LINE FROM THE ALBUM IS…

My favorite song of the album is the first. I really like the feel so the baseline is my favorite line

 

‘Silkidrangar’ is out May 5th on One Little Indian / Pre-order on iTunes available now

Official Website http://www.samaris.is

 

The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk / Interview with Curator Thierry-Maxime Loriot

marcopantella

Read it on HUNGER TV

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Already visited by more than one million people worldwide, The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk finally arrives at the Barbican Centre in London. Monsieur Gaultier attended yesterday’s inauguration of the very first exhibition on his oeuvres and after an interview, conducted by Exhibition Curator Thierry-Maxime Loriot, he officially opened the Barbican Art Gallery’s doors to his world, where almost four decades of couture become the very fabric of what a dream is made of. Hunger TV peeked inside the exhibition, featuring stage costumes designed for Madonna and Kylie Minogue, pieces created for the films of Pedro Almodóvar [The Skin I Live In] and Luc Besson [The Fifth Element], and Gaultier’s rich collaborations with renowned photographers such as David LaChapelle, Miles Aldridge, Peter Lindbergh and Herb Ritts. In this

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The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk / Interview with Curator Thierry-Maxime Loriot

Read it on HUNGER TV

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Already visited by more than one million people worldwide, The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk finally arrives at the Barbican Centre in London. Monsieur Gaultier attended yesterday’s inauguration of the very first exhibition on his oeuvres and after an interview, conducted by Exhibition Curator Thierry-Maxime Loriot, he officially opened the Barbican Art Gallery’s doors to his world, where almost four decades of couture become the very fabric of what a dream is made of. Hunger TV peeked inside the exhibition, featuring stage costumes designed for Madonna and Kylie Minogue, pieces created for the films of Pedro Almodóvar [The Skin I Live In] and Luc Besson [The Fifth Element], and Gaultier’s rich collaborations with renowned photographers such as David LaChapelle, Miles Aldridge, Peter Lindbergh and Herb Ritts. In this magnifique and overwhelming French Revolution of couture, music, sketches and videos, we turned to Mr. Loriot, former model turned curator, who guided us through Gaultiers’ vision and explained how he managed to translate it into a theatrically-staged exhibition.

Instead of a fashion retrospective the exhibition, conceived in 2011 by the Montreal Museum of Fine Arts, is an installation featuring eight thematic sections, from Punk Cancan to The Boudoir and Urban Jungle. “An exhibition is not to be something boring. It has to be alive and my dream” said the French couturier and having Nana on display, his childhood’s teddy bear, allows us to make an intimate connection with his imagination as an enfant, when the self-taught designer used to spontaneously play, and unconsciously create his future. Dressing up Nana in 1957 with colorful punk hairdos and the first prototypes of the cone-bra corsets may look like a game that any creative little boy would play but, unlike the others, le petit Gaultier would grow up to see Nana’s paper conic bra turning into the i-conic bustier Madonna wore during her Blond Ambition Tour in 1990. His fantasies, and creations, became bigger than reality and though he remembers his first show as a catastrophe, the 150 haute couture and prêt-à-porter ensembles showcased at the Barbican are pieces of love and history still impacting culture and society.

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“Making the final selection was the biggest challenge I faced as a curator” tells me Mr. Loriot on Gaultier’s archives. “Plus, the exhibition is traveling but there is something great about it. It’s adapted differently depending on the venue and public. In Madrid there was a section about Spain, focusing on all of Gaultier’s collaborations with Almodóvar for example. We also developed new galleries in the process to show pieces we could not feature before, like the Muses section. It’s very generous from him to lend these pieces for such a long time and share them with the world”. After ten years working as a model Mr. Loriot coordinated the Yoko Ono and John Lennon Bed-In For Peace exhibition in Montreal. When Nathalie Bondil, Chief Curator of the museum, called him to discuss a fashion exhibition, there was only Gaultier on his mind. “He is the only contemporary fashion designer whose influence can be seen in so many different things from furniture to music videos and films. I had an incredible archive to work with, it felt like a dream and it’s fun how people think of him only for Madonna.”

It is important to point out Gaultier’s humble upbringing, marked by the open-minded personalities of his mother and grandmother, and not only because “too much comfort is not good for creativity” but most importantly for his early understanding of women’s shapes, tricks and transformations through clothing. This will provide him with that irreverent vision and sensibility necessary to become the enfant terrible we know. Who else could have broken the rules in the pioneering and established world of Parisian couture if not someone with a cheeky attitude and a big passion? As French couturiers where dictating the rules on how to make a woman look chic, Gaultier redefined this notion and succeeded in showing us that collections inspired by rabbis, gypsies, the exotic Frida Khalo and the sparkling Les Folies-Bergère were indeed très chic.

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The Barbican towers, striped for the occasion with the same Gaultier’s signature motif of the French sailors’ sweaters he wore as a boy, welcomed him to London, a city he took a lot of inspirations from, especially in the early 70s. “Maybe it is because you live on an island that you are not contaminated!” joked Gaultier during the interview, talking about his love affair with London and British subculture. If in France fashion was banal according to him, in England the punk movement and the work of Vivienne Westwood and Malcom McLaren was fun, exciting and an invitation to not be afraid of recreating that same feeling through extravagant mises-en-scène. Multiethnic models of all ages and cultural backgrounds started walking and interacting with the audiences on his catwalk. Denim, tattoos, red afro hairstyles and most of all gender bending became for him elements to glorify during the shows. Whatever was it that society tried to ignore or considered taboo on the sidewalk, Gaultier celebrated it on the catwalk. Differences become beautiful and thanks to him, like-minded and revolutionary personalities could not resist a French style that was finally embracing different types of people. Madonna felt powerful and unashamed to show both her masculinity and femininity and in the exhibition, we also find out that someone well-known for his resistance to mass culture like Kurt Cobain was really wearing Gaultier.

Jean Paul Gaultier Installation

“As you can see, London has so many different influences on the exhibition” continues Mr. Loriot, “he always reinterpreted elements of the pearly queens and kings in his work. It is not only about punk there is also Boy George, Amy Winehouse and David Bowie. London is the city where he first saw the stage version of The Rocky Horror Picture Show in 1973 and he was obsessed with those red lips on the posters. You can also find his spitting image in the Eurotrash section and it’s absolutely fabulous”.

More than terrible Gaultier is still an ‘enfant’ when it comes to look at the world with no filters. You instantly recognize this attitude in his funny and outspoken persona, or in the way he runs up and down the catwalk after a show with the spontaneity of a child. This is because his intention was not to merely provoke the public but to be a voyeur, inspired by what people see even when sometimes “what we see it’s not real but it’s inspiring as well”. Gaultier’s avant-garde shows remind of the theatrical ones that Alexander McQueen will later put on, but their interpretation of “dramatic” does not translate in the same way. There is a joie de vivre in Gaultier’s world and the colorful dramatisation of his couture is meant to provoke a contagious and liberating feeling in everyone who’s watching. Through his work he effortlessly demands our attention because, as a consumed voyeur, he’s aware of our desire for those women full of character, the seducing tailored silhouettes and the intoxicating colors and designs. In the alternate reality he creates, beauty is like a persuasive burlesque performer who keeps our excitement growing as we forget all inhibitions.

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Mr. Loriot cannot define beauty because there are so many different types. When Gaultier dresses someone like Beth Ditto, who is not necessarily a fashion standard, he presents her in a way that makes her beautiful and it’s true. She has this energy and everyone wants to be around her. It is the same thing when he shows people from different backgrounds and I think it’s very generous to give this opportunity. It almost educates society to see something that is different”.

Visiting the exhibition means facing Gaultier’s aesthetic fixations and inspirations. As you walk through it, encountering Odile Gilbert’s sublime sculptural headdresses and wigs and even talking mannequins, with the help of holograms projected onto their faces, memories emanates through this rebellious and innovative way of making couture. The memory of Fellini’s Satyricon and the Broadway show Nine inspired by his film , where Gaultier was struck by a scene in which actresses wore salmon underwear and corsets. The memory of Jacques Becker’s Falbalas is palpable in the section called Muses, expanded for the Barbican to feature models, musicians and performers that have inspired Gaultier from Frida Khalfa, Naomi Campbell, Kate Moss to Erin O’Connor and Dita Von Teese who looked like a butterfly closing his Spring/Summer 2014 show. Religious iconography, corsetry, S&M and trompe l’oeil all dissolve through the different rooms blending in a patchwork of everything but always showing a new precise and distinctive facet of his inspirations.

Jean Paul Gaultier Installation

What does Mr. Loriot wish to all the visitors coming to the Barbican? “I hope they understand that there is a strong social message in Gaultier’s world. The exhibition is also a unique opportunity to see couture up close, you don’t get to do it even if you attend couture shows. Some dresses took 1600 hours of work and when they’re on stage for two minutes you don’t have a direct interaction with them. Every piece of his work still looks so modern and fresh because he broke a lot of taboos and offered through fashion a very open vision of society. Everybody is welcomed in his world and just like Gaultier I’m hungry to discover things I don’t know about.”

13. Jean Paul Gaultier, French Cancan collection

Art should be about being revolutionary and without being a chronological installation, The Fashion World of Jean Paul Gaultier is more than a visual journey, it’s a cultural experience through time.”Timeless” is an overused adjective when describing fashion styles and yet when you walk out the Barbican, it will be the first one crossing your mind. Gaultier’s universe is a magical source of inspiration for any creative who, just like him, is looking for true uniqueness in a world where being yourself is still the ultimate form of censorship. When a couture creation triggers a reaction that has got more to do with who we are first, rather than the artistry it took to produce it, then this creation becomes a meaningful work of art that goes beyond time and fashion. Gaultier’s bride closing the Fall/Winter 2013-14 haute couture show, wearing trousers and layers of fluttering tulle on a compass-drawn silhouette, is another provocative reflection and statement on society that continues to inspire [him] and being inspired by his bizarre creativity. “I don’t like dreams or reality. I like when dreams become reality because that is my life”, so don’t be surprised if during your visit you happen to see a little boy, wearing a marinière sweater, running through the exhibition’s rooms holding Nana in his hand.

 

 

‘The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk’ runs from 9 April 2014 – 25 August 2014 Barbican Art Gallery.

‘In Conversation: Jean Paul Gaultier’ the legendary and newly appointed International Vogue Editor Suzy Menzkes in an intimate on-stage discussion with fashion’s l’enfant terrible. 15 April 2014 at 7pm – Barbican Hall

Tickets and Events Programme here