Sogar Press InterviewsSogar_Press.htmlshapeimage_1_link_0

Loop.Cl    Chili

In the French Autres Directions in Music’s ‘Noise and the City’ MP3 compilation released, your track is based on sounds you captured from a Paris’s building site. In your opinion the building itself is a found sound or it’s more like a concept in order to develop it?

“The concept of this compilation was to record sounds from the city where you live. And to use only these recorded sounds to create a musical track. So of course at first the building was a found sound. Later on (during the digital processing) all these recorded sounds from the in and outside of the building becomes inevitably a concept. Cause the subconscious take it like a matter of course to tread the sounds taken from the building site like the developing building itself. So it’s both, found sound and (to my surprise) concept as well. I never think about concepts and I never had ones in my music. And maybe the concept there is not a concept neither but more exactly an associative audio blue print.”

Your track ‘Bau2’ of this compilation mentioned go little by little in crescendo specially with bass. The evolution of the track is related with the physical aspect of this building site?

“Yes exactly. Regarding the building site I take this crescendo for the most logic way to describe the evolution of the physical aspect as you said. It’s this sounding blue print of the construction I spoken about. But I have to say that I always like these very long crescendos when I put them elsewhere in my music. I’ve used them a lot.... maybe too much. Hopefully this is my last crescendo which I put in the end of a track. Otherwise I get tired of it :)”

How it was the transition of playing the guitar to using audio software? I think it’s a natural step to be able to do your own project.

“I came from a noisy experimental punk-rock background. I always played guitar in different bands in Germany and France. About seven years ago I had a project where we used guitars and very basic electronics sounds for the first time together. At that time I haven’t got any computer yet. I’ve created all this buzzing, scraping and crackling sounds with a mixing desk, cables, and mini-disk players and so on.... It’s been a quite creative time and I have to confess that today I still use this old sound material. Cause it would take me a long time to come to the same results with today’s audio software. The guitar was always an important part of my music. Even in times when it was for the listeners hardly evident. I still compose the melody parts on the guitar. Later on in the working process I translate these melodies in something more digital. For the most part my tools are simple sine wave. In the end after all the digital processing I do the melodies becomes something very different to the original idea. To have my own project today is more the result of getting frustrated of playing with peoples who doesn’t share the same idea of music, life and friendship than I do than a natural step when you make the transition from playing guitar to using audio software. Which not means that I refuse to make collaborations with other musicians. It’s good to get from time to time inspirations from others by working with them. But it has to be clear that these musicians have her own understanding of music in their own project. As much as I like to find out the complementary part of a temporary collaboration, I hate to find out where I have to make the compromise of a creative process by working constantly with multiple ideas in a band. This is of course my personal point of view regarding the work in a band and does not mean that musicians are never complementary and creative as a band. Anyway, so I don’t think that the band thing is my cup of tea anymore. Because therefore I like to much the individual type of musician.”

Melody lines are an essential part of your music. Even there are playful tones within abstract textures. This combination could be considered a complex process to be done. How could you describe this juxtaposition of elements?

“Yes melody is important for me. After all I try to make music :). Maybe something like a more contemporary music. Including all the attributes of ‘popular’ music we know, like harmonies, rhythmics, dynamics and so on. My work is based a lot on ‘intentional accidents’. That means that I provoke accidents by re- or misnaming an already existing / given name of a sound file. Or pushing the CPU capacity of my computer to the limits which cause all kinds of software crashes. Further in the processing I listen to all these accidents and I take care if I can find something who fits together in terms of harmonies / melodies. >From this moment on my work becomes less anarchic, it becomes even scrupulously precise. This is also the moment where I try to put all this ‘untamed’ sounds in frames and forms to arrange them to a musical track. This is just one short example how I create a track. Sometimes it can be more or less complicated. Also the actual working process can be completely different to a previous in the same project. The way to work depends on so many components.... Often I pass a lot of time with details. Sometimes too long I guess. In many cases I really would like to work a bit faster. Because I think it’s often better to keep a spontaneous idea of a found tone combination than to getting sick of it by working too long on its details or textures. But on the other hand that’s where the abstract textures in my melodies mostly come from. Another reason for this abstract melodies / textures could be the fact that I never used ‘formatted’ sounds as you get them from usual hard or software synthesizer. All told you can say the whole process to create music with random, accidental or found sounds includes many difficulties where you have to find perpetually solutions to not getting lost in a compromise who destroys all the beauty of a complex composition.”

Do you combine your musical work with other artistic activities?

“Not really. The only things I have done in this context is that I made music for sound/art installations. Or I work from time to time with a video artist. I’ve even worked with a writer to set his poetry to music. I also combined my music with my own simple photographs or likewise simple small video sequences for several occasions. But I have to say that I don’t search for this kind of art media fusions. I just don’t feel that my music should be combined with another media. Because my music is almost exclusively created as a whole, as something who should stay for itself. It’s different when I compose with the intention that the music / sound is as a part of a whole artwork. This fact should be pointed out in advance. I mean that I don’t like when different medias are just sticked together for no apparent reasons.... just to make it ‘richer’ in a wrong way.”

[Interview by Guillermo Escudero -January 2005