Jul 292013
 

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Five years after his last full-length album “Shards”, the talented Ukranian composer Alexandr Vatagin – member of Tupolev and Port-Royal, founder of Quarz project and former collaborator of renowned musicians such as Stefan nemeth (Lokai), B.Fleischmann, Philippe Petit (Strings Of Consciousness), Steven Hess (Pan American), Kutin (Dirac) and many others – turns up for an important appointment, the 5th anniversary of Valeot Records, the label he co-founded by means of a brand new album “Serza”, which combines the subtle digital electronics of the above-mentioned “Shards” and the analog softer tones of his debut album “Valeot” and marks  a further convincing step towards full musical maturity and a new addiction to the post-modern music scene. Such a long-awaited release is an opportunity to know him better.

Chain D.L.K.: Hi Alexandr. What was up there before answering these questions? Are you ok?

Alexandr Vatagin:  I am really fine, thanks; enjoying the long awaited summer, which actually brought some nice changes in my life.

 

Chain D.L.K.:Before speaking about your brand new album “Serza”, let’s go back in time…you were very young when you moved to Austria from Ukraine, weren’t you? Excessively backwards?

Alexandr Vatagin:  Yes, I was quite young, 8 years old to be precise. actually I don’t remember a lot from that time, there are more like fragments of memories rather than clear pictures, but life was quite different in former Soviet Union. So I guess that was a very important time for me, even though my memory of it is vague.

 

interview picture 1

courtesy of Mimu Merz

Chain D.L.K.: When did you discover a passion for music? Have you inherited by some members of your family?

Alexandr Vatagin: I started very late with listening to and doing music – I was not really interested in music until I was 18, which was when I bought my first own record. Then everything went really fast, 2 years later I bought my first instrument (a bass guitar) and another two years later I started playing cello and doing electronic music. That was around the time when I started to work on my first album “valeot”. None of my family other than me has or had any musical talent or interest, so it was really a big surprise for all when I decided to do music.

 

Chain D.L.K.: What does “Serza” mean?

Alexandr Vatagin: “serza” is actually the Russian word for heart, but slightly misspelt – correct would be “serzo”, but with an “a” instead of “o” it sounds and looks better. During the long time I worked on “serza” many things changed – like relationships, habits or even my musical preference… and like the human organ, “serza” keeps all these different things together and at the same time it is the synonym for warmth and intimacy, so this was perfect for me. Maybe the cover suggests something different, but I don’t care, I just liked the picture a lot.

 

Chain D.L.K.: Even if you involved many different collaborators, “Serza” sounds quite homogenous…how did you “train” each musician? Any “transgressor”?

Alexandr Vatagin:  It was quite a natural thing, whenever I got stuck with a song i had somebody in mind who could add something and thus “help me out”; and as the album was created within such a long time (almost 5 years) I needed a helping hand quite a couple of times. No, there were almost never “problems” with any external material.

 

Chain D.L.K.: Many reviewers highlighted the fact “serza” could lie in the interzone between your previous releases…do you feel the same?

Alexandr Vatagin: I think yes, it’s definitely my most mature and personal work up to date. What I really like is to mix electronic music with real instruments, but other than is standard for the “genre” I am almost completely avoiding processing of real instruments, I like them to sound as they are. and I think on “serza” I brought this mix quite to perfection, so I think this is one of the main points why “serza” became a very warm and playful album.

 

Chain D.L.K.: On “Elisa” some listener could imagine you opened a music-box with a dancer inside…was it inspired by some real person?

Alexandr Vatagin: Indeed there once was a very important girl in my life carrying that name, in the end it is a song for her or maybe about the time we spent together. I grew up with pop music (in a wider sense), so having personal songtitles is important to me – to call a song “error 011” or “pluh” does not seem very interesting to me. I like warmth and heart in my music in general but especially in my solo stuff.

 

Chain D.L.K.: There’s something vaguely childish and innocent in the sound of “Serza”…is it so? Have you ever made reverie about the sensibility of a child while composing your music?

Alexandr Vatagin: I think I know what you mean, and I am taking it as a real big compliment. for me “serza” is quite playful in comparison to the “genre standards”, one of the most important things for me is that my music should be alive, playful, honest, charming & touching, things that are also very important in real life. Music should always include a reflection of yourself.

 

interview picture 2

courtesy of Mimu Merz

Chain D.L.K.: The track “Mantova”, named after a beautiful city in North Italy, together with  Martin Siewert and David Schweighart, the lovely “Elbe” (performed with Martin Siewert and James Yates) and many other moments of the album guzzle post-rock drams…what’s your vision about post-rock in general? What was the source of inspiration of both tracks?

Alexandr Vatagin: I used to be into post-rock a lot, but for many years now i became very bored by the genre. “mantova” is one of the oldest tracks on the album and maybe the most conservative one for me, “elbe” is much more a direction that I like if we are already talking about “post-rock”. I guess a little bit of post-rock influence will always be inside my music, I grew up with it, it was my punk music when I was young. 🙂

Unfortunately I’ve never been to the city of Mantova, but I passed by it on the highway or in the train many times, so I thought it would be a wonderful name for a song.

 

Chain D.L.K.: The lovely final track “Different” sounds more “radiant”…is it somehow the final stage of process?

Alexandr Vatagin: It’s a mix, the draft of that song is one of the oldest ones, but I added a lot of new stuff towards the end of the production. The newest song on the album is “la douce”, but in the end both are not directions for future work, I already have something in mind for my next solo album, and it will be something special, I am still not sure if it’s possible to do it like I would like to, so I won’t say any more about it now – let yourself be surprised! 🙂

 

Chain D.L.K.: What about the cover artwork?

Alexandr Vatagin: Actually I still don’t know what is depicted on there, I just liked it a lot when I saw it and in the end I like this kind of small mystery. A nice but slightly crazy 17 year old girl from lughansk (the eastmost city of Ukraine – nearby Russian borders, where we played a concert with my band port-royal a year ago) sent it to me and also did most of the artwork.

 

Chain D.L.K.: Many listeners could say your music is just beautiful without being able to define its beauty..what’s your own definition of beauty?

Alexandr Vatagin: I guess I would say the closest things to beauty for me are melancholy and love – melancholy because it can make you sad and happy at the same time, and there are not many things with this almost paradox “power”, and love because it’s love! 🙂

 

Chain D.L.K.:Any work in progress?

Alexandr Vatagin: Too much actually, a new port-royal album is in the works, I played cello on some really nice upcoming releases from people like Gurun Gurun (home normal), Dalot (n5md), Nicolas Bernier and Attilio Novellino (valeot). There are also some long time unfinished albums like a kind of jazz /post-rock quartet, an album with Werner Kitzmüller and an album with Fabian Pollack.

Additionally I’m already making plans for a third Quarz album and one guest is already fixed – the legendary Berlin techno producer (as Ilsa Gold) and experimental artist Pure (mego, cronica), and the second Quarz album with Philippe Petit and Steven Hess will be finished this year.

 

Chain D.L.K.: Are you going to bring “Serza” on live stages or are there ay “technical” difficulties?

Alexandr Vatagin:  I did it already, in April I presented “serza” in Vienna, for this occasion I played live with Martin Siewert (Radian/Trapist) on guitar and David Schweighart (Tupolev) on drums. It was a blast, a very intense and enthusiastic show with really great feedback afterwards. The basic idea was having an almost classical rock trio playing ambient songs, and as it worked out that well we will probably do some more concerts in this combination, maybe during some festivals later this year. and there will definitely be some real solo performances as well, just me with cello & laptop. A tour through europe should take place in winter this year.

 

Chain D.L.K.: You’re involved in many different bands…how can you balance yourself in each of them?

Alexandr Vatagin:  Oh it’s quite easy for me (musically I mean, time is another topic). I always compare it to my personal taste in music: at home I am listening to stuff ranging from Miles Davis to Arcade Fire, from Colin Stetson to Oval, from Bach to Leonard Cohen, so why should I limit myself when I am doing music. maybe I will never be as good as other people that stay within only one genre but then I would lose too much fun! 🙂

 

Chain D.L.K.: What’s the sound you had in your mind when you woke up this morning?

Alexandr Vatagin: I am always very sleepy in the morning, so there are no big thoughts, but I think I was happy about the sunny day and my amazing girlfriend who lay close to me.

 

Chain D.L.K.: Anything to add before the end?

Alexandr Vatagin: Thanks a lot for the really nice questions, and sorry that it took me that long to answer them, but at least it didn’t take me 5 years 😉

 

visit Alexandr Vatagin on the web at: vatagin.klingt.org

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Jul 262013
 
Just hot on the heels of our last 2 releases, we are absolutely thrilled to announce the release our “Secret release” you may be hearing about.  This is a co-release with the mighty Light In The Attic Records (their Modern Classics imprint).  We are ecstatic to bring you the long overdue reissue of Seefeel “Quique” (MR-021).  The intricate details of this masterpiece are below for those of you who don’t know it.  It is a crucial must-have transitional record that bridges shoegaze, electronica, ambient, and many more.    Release date is August 27th, but I am taking preorders now.  This won’t be on the bandcamp page.  The pressing is 2000 copies and 1000 of them are randomly pressed on baby blue vinyl (this is a gatefold 2LP).  I have access to 200 blue copies, so that is the incentive to preorder from Medical while supplies last. After that, I will have the black copies of course.
Easiest way is to send paypal to troy@medical-records.org.
For single 2LP in USA – $20 + $4 shipping = $24
For single 2LP in Canada – $20 + $18 shipping = $38
For single 2LP to europe, south america, japan – $20 + $25 shipping = $45
For multiple copies or combined orders with backstock or distro items (see list below), please email me for totals.
Here are the details!
 
ARTIST: Seefeel
TITLE: Quique
LABEL: Modern Classics / Medical Records
FORMAT: 2xLP
UPC: 826853090612
RETAIL COST: $20.00
RELEASE DATE: 8.27.2013
* First time vinyl reissue
* 1,000 random copies pressed from first pressing (2,000) on blue wax
* Double-LP release housed in expanded gatefold tip-on jacket
* Liner notes by Dave Segal interviewing original band members
Medical Records in association with the Modern Classics imprint of Light In The Attic Records is marking the 20th anniversary of a unique record – Seefeel’s Quique. The London quartet’s debut album (pronounced ‘keek’) is a dreamy confluence of dub, abstract electronic music and minimalist composition techniques, and remains a touchstone record in the ambient and shoegaze movements.
Quique first oscillated into the world in July 1993 via UK label Too Pure, joining the dots between Cocteau Twins, My Bloody Valentine and Aphex Twin. Its most striking quality was its sheer sense of invention – and the fact it was instrumental except for wordless vocals from singer/guitarist Sarah Peacock, lying low in the mix and treated as another instrument.
The band emerged in London in 1992, releasing an EP, More Like Space, and finding a kindred spirit in fast-rising electronica star Aphex Twin. Before long, they were carving out an entirely new sound. “There was a sharp shift to wanting to do something definitive, because this is what I began to respect in others — a sense of striking out, of urgency,” says guitarist Mark Clifford in the extensive liner notes by Dave Segal accompanying this reissue. Being a debut album, it’s one that finds invention in economy. Quique’s unusual sound was not the result of an extravagant setup or a loaded, state-of-the-art studio, even if the guitars and vocals especially existed in a universe apart from everything else happening at the time. It was instead recorded in an attic studio in Camden, north London.

Seefeel left Too Pure for the more electronically-oriented Warp Records after Quique, and with the move assumed a more severe electronic approach. For its invention, its unique sound and the brevity with which its creators pursued it, Quiquerepresents a prized moment for fans of electronica. The album is notable not just for the artists and records that trailed in its wake, but for the effect it has on listeners too. Clifford once noted, “_Quique_ was used with autistic children – I have letters from people [in Liverpool] saying they’ve used it therapeutically with children… And I’ve had letters from people who’ve given birth toQuique.”

“We were not afraid of any possibilities,” says Seefeel bassist Daren Seymour in the liner notes. “And in fact, we enjoyed challenging the status quo as we saw it.”

Reissued on double vinyl in an expanded gatefold sleeve, now is the time to revisit this immersive record – or get lost in it for the first time.
TRACKLIST:
1. Climactic Phase #3
2. Polyfusion
3. Industrious
4. Imperial
5. Plainsong
6. Charlotte’s Mouth
7. Through You
8. Filter Dub
9. Signals
BACKSTOCK AVAILABLE : Most available at medicalrecords.bandcamp.com with free download
OGI “S/T”                                                                 MR-008       $16
Lou Champagne System “No Visible Means”                    MR-009        $16
Dalek I “Compass Kum’pas”                                         MR-010        $16
Christof Glowalla “Erde 80″ 10”                                    MR-014        $12 (1 left)
Disco Volante “No Motion” 7″                                       MR-015         $8
Tony Carey “Explorer and Yellow Power” 2LP                  MR-016        $20
Gina X Performance “Nice Mover”                                 MR-017        $18
Mathematiques Modernes “Les Visiteurs Du Soir”            MR-018        $18
Near Paris “S/T”                                                        MR-019        $18 (30 left)
I Signori Della Galassia “Iceman”                                 MR-020        $18 (20 left)
Die Gesunden “S/T”                                                   MR-022        $18
Body 11 “Youth”                                                        MR-023       $18
Intelligence City “Sleeping City” LP (Anna Logue)                        $21 (1 left)
Red Fetish “The Future is now in your hands” 7″ (Anna Logue)       $9  (2 left)
David Sinfield/League of Nations LP + 7″ (Anna Logue)                $24 (2 left)
Twins Natalia/Poeme Electronique 12″ (Anna Logue)                    $16 (3 left)
PA Tronic “Ute På Vift” LP (Anna Logue)                                     $21 (2 left)
Interaccion “Extension De Los Significados” LP (Domestica)          $22 (2 left)
Dark Like A Restaurant 10″ (Domestica)                                    $16 (1 left)
Kremlyn 10″ (Domestica)                                                        $17 (2 left)
1/2 Separate Ways 7″ (Domestica)                                            $11 (2 left)
Non Plus Ultra Vol 2 LP (Domestica)                                          $22 (2 left)
Gerhard Heinz “Library Music” LP (Private)                                 $22
Alex Cima “Cosmic Connection” LP (Private)                                $22
Michael Bundt “Neon” LP (Private)                                             $22
Schaltkreis Wasserman “Psychotron” LP (Private)                         $22
Upperseption “Cornicula” LP (Private)                                         $20
THANKS!!!
Troy Wadsworth
Jul 222013
 

control freak records and freeze frame reality are pleased to announce the fourth full-length release and more from C2 coming in October. A 16 track album, two EPs and a graphic novel in limited physical bundles and digital.

QUADRANTS: the stories of four, is an audio visual journey into an AM radio nitemare of a man haunted by the noise, the number 4 and four dead sirens.

Urged to seek short-term physical gratification as pain relief, stuck in cycles of pain, we replicate pain as pain relief. We all have our sirens.

Are you a bystander, a cause or a solution? What happens when the unknown becomes constant and the hyper awareness becomes truly horrible. The stories of four explores the cloudy line between memory, premonition and action through a state of being that does not allow clarity but does allow us to be haunted by the simplest things or the most complex. A number, a noise, or the occasional spark of humanity linking us to our brothers and sisters in solidarity or torture, whether overt or complacent…

Some doors you open, some are slammed in your face, others you are pushed through. Which do you choose? Welcome to the four.

Pre-sale:
http://www.indiegogo.com/projects/c2-is-back-with-quadrants-the-stories-of-four

Direct Video Teaser:
http://www.youtube.com/watch?v=yIX6t5kK-1A

Free Track Download:
https://soundcloud.com/controldotorg/scream-in-the-mirror

Streaming track and album preview:
https://soundcloud.com/controldotorg

Facebook:
https://www.facebook.com/control.org
https://www.facebook.com/freezeframereality

Jul 222013
 
TEENAGE SIN TASTE “Skin” – Digital EP + Videoclip (D-monic)

Teenage Sin Taste “Skin” 4 tracks EP is officially out now ! It is now available on Bandcamp and will be later distributed on all platforms (iTunes …).
Discover now this brilliant new release that will appeal to fans of bands like A Place To Bury Strangers, The Soft Moon, Jesus And Mary Chains …
The full EP download (3.50 €) include cover, full artwork with credits; but you can also download track by track if you prefer.
Tracklisting :01. Skin (feat. Phil Wolkendorf) 02. Hit me 03. Taste it 04. Loser
http://d-monic.bandcamp.com/album/skin


BLACK LUNG “The business of selling” – 12″ Vinyl (M-tronic)

We are very happy to announce that we will release a Black Lung limited vinyl entitled “The business of selling”.
It will contain 6 tracks in total, 3 brand new tracks and killer remixes by Matta, Sir Real and Monster Zoku Onsomb.
Black Lung is David Thrussel’s (Snog) industrial electronic project, having released productions on repsected labels such as Ant-Zen, Nova Zembla, Ad Nosieam …
It will be soon available for pre-order.

GEOMATIC / LAGOWSKI “Cosmochemistry” – CD album (M-tronic)
We are very happy to announce the return of Geomatic on our label M-tronic.
Geomatic is back together with Andrew Lagowski (SETI …) for a conceptual album entitled “Cosmochemistry”.
We can say that without any doubt that’s the best thing we have heard of Geomatic so far, this album is powerful, dark and hypnotic, not to forget a massive sound production !
More infos soon, stay tuned on www.m-tronic.com

Astrolab “Till this river runs dry” – CD album – Preorder open (D-monic)

Pre-roder are now open for the fantastic debut of Astrolab “Till this river runs dry”, the album will be released in september !

Instinctive assembly of three fully aware beings, ASTROLAB evolves between shoegaze, cold wave and electro. From the city of Nice, south of France (known for bands like Corpus Delicti, Press Gang Metropol, Curl ..), their music shows an instinctive composing, mixing experimental music and barbed riffs, lucid writing, sometimes resentful, often sour.
With their debut album “Till this river runs dry”, ASTROLAB enforces immediately its touch, atmosphere : noisy, melodic, dismantled, mixing effects and biting energy. Imagine what could be a musical meeting between Jesus And Mary Chain, Placebo, Muse and Virgin Prunes !
Here is an impressive and most promising debut you will remember for a long time !
Format :
2 panels Digisleeve  on matte paper + booklet
Listen to a 6 minutes full audio teaser:
http://d-monic.bandcamp.com/album/till-this-river-runs-dry

Sweet William “Ocean” new album out now (D-monic)
Sweet William’s new album “Ocean” is a concept album : it begins with a prologue, classically instrumented, then proceeds directly with the title track “Ocean” which finally opens the album in the good old rock style and straightforward. Constant tempo changes and musical opposites merge into one another, “Ocean” is about the human abyss,  the music seems threatening, dark – but then again bright and shiny – just like the sea – the Ocean. Sweet William’s music is back to its roots which leaded them to be a successful band signed on the respected Hyperium and Dion Fortune ! This album contains some hits such as “Insane”, “Over”, “Ground”, but it also features a wonderful cover of Joy Divison’s anthem “New Dawn fades”.
17 tracks, 74 minutes, out now !, 13 € including shipping worldwide !!!

NEXT CONCERTS
26/07/2013: Astrolab @ Le Volume (Nice – France) + Clrasen + Juen Emergency
27/07/2013: Press Gang Metropol @ Dark Castle Festival (Paris – France) + Project Pithcfork, Icon Of Coil, Faderhead
28/07/2013: Astrolab @ Eco Parc (Mougins – France)

Visit our websites for more infos and add us on facebook !!!
www.m-tronic.com / www.facebook.com/mtroniclabel
www.d-monic.net
/ www.facebook.com/dmonicofficial

Jul 212013
 

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Xavier Roux, better known as Ravi Shardja, is a composer of music for films and theatre. He recently poured his art into the boiling aesthetic  cauldron of Grautag Records, which is building a collection of music about the dystopian landscapes of our globalised world, whose programmed obsolescence where dreams have nothing to share with illusion any more.  On his “Grun ist Grau“, Ravi Shardja intertwines hints coming from this “black and white” world in the middle of jungles where tourists don’t dare to go for endless conflicts, where you can find yourself sleeping inside the wreck of an abandoned airplane, eat kebab leeches you managed to find in a garbage dump, while malaria buzzing insects gradually eats you. Is it future or present? In the meanwhile, let’s know Ravi better. “Grun ist Grau” comes out on Grautag Records.

 

Chain D.L.K.: Hi Ravi. How are you?

Ravi Shardja:   Great yesterday, today,  and tomorrow i don’t know, and you what’s up Doc ?

 

Chain D.L.K.: En la Lucha, thanks. Compliments for your last release on Grautag. It sounds a synaesthesia related to forgotten and somewhat invisible places. First of all, how did you discovered Grautag?

Ravi Shardja:  Thanks. A good and close friend, Philippe Cuxac, who works with Nicolas Moulin gave me the first LP of the Grautag collection, « Bader Motor ». So after meeting with Nicolas, we swap several LPs from our own labels. One day he proposed me to do the next double LP. I was a lucky man.

 

interview picture 1

courtesy of Pierre Jean Gilloux

Chain D.L.K.: In the past, electronic noise was more associated to provocative messages or entertainement, nowadays it’s more related to different descriptions of a confused and grey interzones of reality. Do you agree or not?

Ravi Shardja:  I agree with a part of the question/analysis. Nowadays, it seems to me that this kind of music acts more on the cortex than in the time. The current techniques of sound allow to work its sculpture in a very precise way. Noise music is old now, in the 80′ we especially heard white and pink noise, and larsen, it often was to associate with pictures of torture and violence, all this dark imaging. Nowadays there are several types and varieties of this music. In this musical current certain musicians work more on the physical limits while others prefer to modify the shape of the brain.

 

Chain D.L.K.: How do you file your sonic research?

Ravi Shardja:  It’s a daily and permanent research like a revolution it always has to be in movement, doesn’t follow the fashion, never has to give itself limits of shapes and instrumentation. I can not and i do not want file it in a box . That I can assert it is that every acoustic pressure can show itself an interesting and usable element and wether it is emitted by an object of the everyday life, a musical instrument, or wether it is electricity, electronic or acoustic.

 

Chain D.L.K.: Let’s examine in depth your “Grun ist Grau”. Can you tell us something about its birth?

Ravi Shardja:   As soon as Nicolas proposed to me to realize the continuation of the Grautag collection i set to work, and the « Bombay Boobies Battle » track arrived very prematurely. But it was only the beginning and the way was long to close this project, A double LP asks for a lot of energy, resources to find the just balance between every record and every side.

 

Chain D.L.K.: The electronic buzzes and distorted guitars of the initial “Bombay Boobies Battle” sound abrasive, gunky and unravelling. How did you manage to render this kind of sound? What’s the “function” of it within the track?

Ravi Shardja: This is not electric guitar but electric mandolin. Sorry i never give my recipes and secrets of research, but what i can say about it is that the rhythmic part and the mandolin were recorded in one shot on DAT, that sounded so much although I danced alone as a happy idiot and I knew that I had the essence of the piece. This combination between the electronic rythm and the gimmick of mandolin gives this strange groove and this stretching of the tempo, it is the vertebral column of the piece, a little twisted as mine.

 

Chain D.L.K.:What’s the source for inspiration of “Gartnefest Fessenheim abgesagt”?

Ravi Shardja: I imagined the life of people who work in a nuclear power plant. I said to myself that he had to have a works council there which organizes from time to time a party for the staff. But unfortunately that this is cancelled and the epilogue of the piece leads to predict an irreparable disaster and the music stop, the garden party is over. The nuclear power plant of Fessenheim in east of the France is obsolete and present a real danger for the surrounding populations, it is one truth time bomb. Our German and Swiss neighbors are very worried about it and militate they ask its activity stops, but the French people quietly sleep on their two ears do not look worried. maybe together we shall listen to this piece of music blocked for life in a bunker.

 

Chain D.L.K.: Your four pieces have titles in four different languages (English, Italian, French and German). Is it somewhat related to experiences in different sociolinguistic settings or is there any other explanation of such a choice?

Ravi Shardja:  I found that sounded well in differents languages. and maybe it comes from my difficulty expressing me in other languages which mine, I try to domesticate them but the result is not still convincing. However I find that every language has singular sounds and evoke something special, it is rather this aspect there that it is necessary to keep, and then the diversity that makes the good, enough these titles only in English everywhere, the next time I shall choose titles in Papuan vernacular dialects.

 

Chain D.L.K.: Your music could evoke some visionary pieces of literature from writers such as William S.Burroughs or Thomas Pynchon between a wild-eyed and pitiless representation of reality, just like having a walk under the effect of hallucinatory mushrooms in the meanders of an Indian peripherical garbage dump…do you think such a relation is proper or not? Are there any references to books or movies in your record? Do you suggest any book or movie which could integrate or enhance the listening of “Grun ist Grau”?

Ravi Shardja:   Not of direct relations with books or existing movies but influences undoubtedly, and indelible tracks of old experiences with psychotropics. I believe that I am made my own movie, as each of us. Every piece has its story and its temporality, but every listener gives its version. I compose musics of movies, documentaries, my music has a very narrow relation with the image, but in this project it passes only by ears. The magnificent work of Nicolas Moulin’s photos for this record suits well to my vision of things, we could even imagine four movies. For the title “Curry Negli Occhi, un’ acromatopsia momentanea” I evoke the colour blindness, this genetic disease which reduces the vision to black and white, this title came to me after the reading of Oliver Saks’s book ” The Island of the color blind “, but the idea of the title arrived after the construction of the track. ” Grün ist grau ” it is a little a vision of colour blindness with all its nuances of grey, but it is not also simple as it .

 

Chain D.L.K.: Do you think sonic research could have a social function in a way or another?

Ravi Shardja:  Maybe one day it will be an obvious fact for all that this sound empirical research it is not only the music, but for it we would have to consider that the hearing is of our most complex senses. I have the impression that in time we manage to invent a role in the decoration. When a person gives me a return onto my work, I say to myself that I can have a small function in the society other than to distract people.

 

interview picture 2

courtesy of Pierre Jean Gilloux

Chain D.L.K.: What’s the main problem which obstacle the understanding and the spreading of more experimental musics?

Ravi Shardja:   It is obvious it is not easy to appreciate these musics that asks for an effort, it is idem for all the new shapes, they meet many reluctances on behalf of people, to see of the rejection, the way of the acceptance is long. There are broadcastings, distribution networks, but it is necessary to admit that the public is not so many, that remains confidential with regard to the billions of individuals who populate the planet. I have the feeling, in France in any case, that the public lack of curiosity, we are doubtless dulled, it’s a pity because France counts many good composers and musicians but ignored, always the same story. The sinews of war it is certainly the distribution how better to organize all this? There are composers, labels, distributors, but that misses link between us all.

 

Chain D.L.K.: You’re also member of other projects (GOL, and Oleo Strut). Could you tell us more about them?

Ravi Shardja: Gol is very important for me, as much on the musical side as human being, it is my family. we are very close with Jean-Marcel Busson, Frédéric Rebotier, and Samon Takahashi we began at the end of the 80s. We developed together a spirit of play, a language « GOL ». Our first album went out in 1994, with many of cut up, of turntables. Since we shared musical adventures with Iancu Dumitrescu, Charles Hayward, Charlemagne Palestine, Brunhild Ferrari, Dave Nuss, Mik Quantius, Ghédalia Tazartès. Two members of Gol participate in ” Grün ist grau “. It is one of the most free musics which I know, we still have things to be together told it is wonderful for almost 20 years. We have some records which way out soon on the Emanuele Carcano’s label Planam, and on Gol our own label.

Oleo Strut is a project of French and Italian musicians both since 2005, we share the taste of good italian noodles and red wine. We find there essentially Aka Bondage, Jerôme Florenville, Xabier Iriondo, and Roberto Bertacchini, but other musicians have participated in this variable-geometry project in the past. We regularly see each other little but, our music meeting is always very funny, absurd, and effective. We way out the third record next month. Roberto is a drummer in the atypical and asymmetric play and in more he sings better than the Pope.

 

Chain D.L.K.: Is there any linking bridge between your collaborative and solo projects?

Ravi Shardja:  No. I really separate everything, I make the distingo, otherwise has sense neither for me nor for the others. I do not want to find the same materials the same melodies. Of course every project feeds me and me made mature.

 

Chain D.L.K.: I’ve read your album was mastered by Norsq, one of the most talented living noiseshaper in my opinion. What can you say abouth working with Norsq?

Ravi Shardja: Yes… Norscq has the qualities wished to be the person of the situation. He possesses two sharpened ears and a culture of these musics. They are rather rare the good technicians of the sound. He asks himself the good questions about the sound, I do not return him easy things, we speak a lot before, he works then. We understand well.

 

Chain D.L.K.: You used a plenty of instruments. Is there any of them you particularly love? Why?

Ravi Shardja: I like very much the bass, I feel rather comfortable to express myself, it is as an extension of my arms of gibbon. I use it more there live than in studio. The prepared turntable comes then, the circular movement makes me crazy, the sound and the subtain of the tray. I also play the traverse flute of South India and then and then I love them all these instruments in fact, and I don’t know why!

 

Chain D.L.K.: Have you planned any live performances of “Grun ist Grau”?

Ravi Shardja: I have a date in Paris on May 4th, I wait for a confirmation for new Graunacht of the label in June in Lille, I intend to return in Berlin, and also Brussels. I will go in south of Europe later.

 

Chain D.L.K.: Any work in progress?

Ravi Shardja: Yes indeed and always, I work a lot, I prepare new records on my label Suara. Between Gol, Oleo Strut and my solo project, there are seven records which go out, an attractive harvest in perspective.

 

visit Ravi Shardja’s Soundcloud at: soundcloud.com/ravi-shardja

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