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Part 2

With more and more musicians creating than ever and more and more of these creations being released, what does this mean for you as an artist in terms of originality? What are some of the areas where you currently see the greatest potential for originality and who are some of the artists and communities that you find inspiring in this regard?

I’ve found that originality is relevant to your age and record collection. If you're 16 with 10 records, chances are they are all original and all very unique even if from the same scene. Keep adding to age and your record collection and you start seeing the similarities.

However, I've always thought those not trying to make a living from whatever they do will be the most creative and daring. The industry tries to compresses a lot of music into pop if you let it and money tends to soften the blow for the artist. Also on the opposite side of that statement if you make enough money to be free of having to make enough through your music you can then go back to writing freely again and be hated by your now fickle and self-righteous fanbase for it. I’m not going to claim I’m an expert in what all styles of music are doing but from my experience in this metal band, the extreme stuff at the bottom of the financial ladder seems to be the most creative, exciting  and new, with the middle being pop with guitars then the super groups at the top.

How strictly do you separate improvising and composing?

I think we improvise until composed, but to be honest is there a difference until it’s recorded and done? How many people wake up with the 100% finished article no matter what medium? Not many, then they improvise to finish.

How do you see the relationship between sound, space and composition and what are some of your strategies and approaches of working with them?

When writing all three are important, as I mentioned earlier I have to be in the correct frame of mind. I don’t have the most wonderful space to write in but it is adequate for now. Ultimately artists like the idea they suffered a little to produce their music as it makes them feel it cost something to create it which affords it an unquantifiable value. I’m not entirely sure how to answer this question which might be becoming apparent right about … now.

What's your perspective on the relationship between music  and other forms of art – painting, video art and cinema, for example – and for you and your work, how does music relate to other senses than hearing alone?

Music is pivotal in modern film, soundtracks can be heart breaking, tension building anything you can dream of. As for its role in painting maybe for inspiration but as an art form I would always draw more from music than from art of that kind. I do feel that in some cases music reaches straight passed your head and into your heart. There are just some pieces that move you in ways indescribable, regardless of genre.

What's your view on the role and function of music as well as the (e.g. political/social/creative) tasks of artists today - and how do you try to meet these goals in your work?

I try not to attach to much responsibility to the music I create. Its role in my opinion is ultimately there to amuse, educate and entertain us and if used wisely can do all three at once. It is without doubt more important and powerful to us as a race than we probably give it credit, though, even me. Ancient tales weren’t sung to pass on the knowledge for no reason.

Listening is also an active, rather than just a passive process. How do you see the role of the listener in the musical communication process?

This depends on so many factors it probably could be a book. The role can be an educating one for the artist as often the listener finds things in the music the artists did not intend. On a more simple vibe music can be a throw away 5 minutes waiting for a taxi. Or a more important dark session late on with a glass of Tawny Port. All work, either to simply pass time or to stir the soul. I think if you’re passively listening you’re probably not really listening at all though, which is also fine we all need to “tune out” every now and then. Regardless of how serious you take music the communication from artist to listener should be a positive one, even if it’s catharsis you’re after.

Reaching audiences usually involves reaching out to the press and possibly working with a PR company. What's your perspective on the promo system? In which way do music journalism and PR companies  change the way music is perceived by the public?

I would have thought not much with ours. If you hear an album title called Feel The Misery and the band then happens to be called My Dying Bride if people then expect Sade style songs I would imagine our PR dept would have got it all very wrong, and knowing our PR dept this is a likely scenario. Smooth Operators they are not. Also their Love is not King etc

Do you have a musical vision that you haven't been able to realise for technical or financial reasons – or an idea of what music itself could be beyond its current form?

Live possibly, we always dreamed of some form theatrical stage show but couldn’t ever financially justify it in the beginning and now not as we don’t tour that much. As for music in its current form I only hope that the best music continues to be created by people that actually play something no matter how good they are. Real people and real instruments in my mind are key to it. I know we all use some form of elec-trickery now but the heart and soul of My Dying Bride is Guitars, Drums, Violins and a voice.

Stay up to date on My Dying Bride by visiting their website.


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