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?

Mainly small groups of people: when the music brings together a community of people and makes them share something. It can be folk music, techno, reggae, it doesn’t matter. 
I don’t really ask myself about originality. I am into an instinctive creative process.

How strictly do you separate improvising and composing?

I’m trying to improvise while composing and I’m doing my best to compose fake improvisation.

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

The close environment has a strong impact on music. We’re always adapting our music to what surrounds us.

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?

I’ve played in many art openings in galleries and in lots of types of events. I like the non-ordinary performance places like on a beach or in the woods where the music has a very different impact on us as opposed to a venue. It’s important to bring the music out of its usual churches. Then I am also very sensitive to the music associated with images. What really makes you cry in a movie is not the picture itself. It’s the association between the picture and the strongest emotion-provider: the sound. 

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 just want to make people dream and realize that music is the strongest form of expression ever. It is the main universal language. 

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?

I want the listener to use the music as a door to somewhere else. I want him/her to be able to lie on his/her back and enjoy the emotions provided.

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?

It all depends on the questions and the real interest in the music.

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? 

Yes I’d like to enlarge the band as much as possible. We are four now but if possible I’d like to bring that number up to nine or ten; having percussionists, xylophones, accordions, all types of stuff. I am really into the Talking Heads “Stop Making Sense”, when the band never stops growing. 


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