The emotional art
The relationship between music and other forms of art – painting, video art and cinema most importantly - has become increasingly important. How do you see this relationship yourself and in how far, do you feel, does music relate to other senses than hearing alone?
When music appears - it does not matter where and why - it changes and affects the perception. My feeling is ambivalent, as always in connection with influencing - the application of music can have intensifying effects, or level things - music can support the dramatic composition of a film, theatre-production or performance, otherwise music is used, to cover weak points of the dramaturgy.
And how music relates to other senses? Music is the most emotional art. Who sings, celebrate a festival. One can reach a Rhinelander, who is mortally ill and no longer recognises his nearest relatives, with a carnival-song.
There seem to be two fundamental tendencies in music today: On the one hand, a move towards complete virtualisation, where tracks and albums are merely released as digital files. And, on the other, an even Clöser union between music, artwork, packaging and physical presentation. Where do you stand between these poles?
Our music is "analogue", we use "real" instruments, and are interested in and work on package and artwork. We like to be in a band and we like playing live.
The role of an artist is always subject to change. What's your view on the (e.g. political/social/creative) tasks of artists today and how do you try to meet these goals in your work?
I've always struggled, and still do, with the term "artist", even if I would describe myself as an artist. For me it is an intimate question.
What I can say is, from my point of view, the role of an artist didn’t change that much over the course of time, what has changed are the circumstances of a so-called artist’s life.
It might be, that an artist can lead a life which is not dominated by an economic point of view or thirst for power, a life that is perhaps worthy to live. Apart from this, we artists should try to stay brave, hardworking and cool - just as Marina Abramovic said - "Artists have to be warriors".
Music-sharing sites and -blogs as well as a flood of releases in general are presenting both listeners and artists with challenging questions. What's your view on the value of music today? In what way does the abundance of music change our perception of it?
The omnipresence and free availability of music today, suggests a special value, but it is ultimately responsible for the banalisation and the sinking estimation of music. With unpleasant effects for those who make music.
How, would you say, could non-mainstream forms of music reach wider audiences?
I don’t know, probably by chance and/or fortune, or word of mouth recommendation
Usually, it is considered that it is the job of the artist to win over an audience. But 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?
We like the listener, who listens. In that case we are happy.
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?
Press and PR companies tell the mainstream what to listen to. Without their support you have problems to reach the public and find the right channels for your music.
Please recommend two artists to our readers which you feel deserve their attention.
Visit Bohren and der Club of Gore's website at www.bohrenundderclubofgore.de