15.5.13
15.4.13
Felix Kubin interview for 06:00am
Felix Kubin foto by Evelyna Domnitch
06: A definition of
yourself.
I am an early
reflection.
06: If we don't act
with immediacy, capitalism will become our executioner?
It’s the other way
round. Capitalism forces us to act faster than we can think and
consume more than we can swallow. It compresses time so much that
there is no contemplation in work, no time to let the particles
settle that were thrown on the surface of the water. Life needs time.
Art needs time. Love needs time. We have to claim back time and
public space. Also, capitalism doesn’t judge the inner quality of
things, it only judges their immediate sales value. In its most
perverted (or maybe purest) form, capitalism means earning money with
money. This is incest and it leads nowhere.
06: Free time is
something we have to work for?
We have to buy
free time, unless we decide to drop out of the (working) society and
become hermits. Some people do that, and they are courageous. I am
not a hippie, though. I like taxis, modern buildings, vacuum cleaners
and elevators. I want to live in a modern world but detached from ist
daily rhythm, more like a ghost.
06: Why did Orpheus
turn and look at Euridice just before the exit?
In my radio play
version „Orphée Mécanique“ he didn’t look back. Actually, he
entered the underworld without finding Eura (he only found her
projection). And after he left Hades, he forgot where he was, so he
entered again. But in the original version he turned around because
he heard no sound behind him. We need sound for evidence. When I saw
my dead father lying on the floor, his silence was much more
horrifying than the way he looked.
06: How do you
perceive the rise of extreme right wing parties in Europe, that is
accompanied by a corresponding rise of extreme right wing parties in
Greece?
When the economy
gets bad and people have to struggle with poverty, right wing (or
extremist) parties always get strong. That seems to be a phenomenon
of history. Of course, the situation in Hungary and Greece worries
me. But most of all I am worried about Russia. It seems that they are
light years away from Glasnost and Perestroika.
06: Are radio
transmissions today as important as they were in the past? In which
ways?
Transmissions are
always important! Let’s just forget about commercial radio for a
second. I think that the ideal of radio has become more
important than ever. For me, radio can be a synonym for quality
journalism, in-depth features, radio plays, alternative music
programmes and experimentation with transmission in general. Of
course, hardly anyone listens to radio by antenna nowadays, only
people in cars do that. We mostly listen by internet and usually turn
on the radio randomly. We don’t care about the programme schedule.
There are some decent radio programmes on internet but most of them
lack something that public radio has: money. At the end of the day,
you need to pay a radio maker, so (s)he can take time to make
a good research. You need to pay the staff of a radio play
production: the author, the director, the musician, the actors and so
forth. And you need to pay the moderator, so he can prepare
for the programme. All of these paid people shall not be controlled
by a private company that is only interested in sales figures. They
shall be paid for work that is serving public interest, education and
a free spirit of culture. Having said that, the democratization of
internet has produced a lot of blogs and mini radio stations with
some brilliant perls amongst them. But on the long run I really
believe that it’s necessary to be paid for quality work, at least
if you want to keep a sustainability. This counts for artists and
musicians, too. Otherwise it stays a hobby.
06: What has been
your experience working with Christoph Schlingensief like?
I had met him few
times 10 years ago. Back then, I only compiled some classical music
for his theatre play „Atta Atta“, so I wasn’t involved too much
in the creation of the play. Few years ago, he wanted me to compose
music for his play „Eine Kirche der Angst vor dem Fremden in mir“
(„a church of fear of the alien in me“ – actually, the title is
hard to translate). But his request came too short in advance of the
rehearsals, I couldn’t do it. I think, one year later he died. I
always liked his ability to bring people together and create a riot
or protest. I liked his interfering with public spaces. He wasn’t
afraid of any confrontation. However, I didn’t like his aesthetics
very much. He was more an instigator than an artist to me.
06: Can you describe
what has been in your life your relationship with the dancefloor.
I have no special
relation to dancefloors. Dancefloors mostly create reproduction. They
are as much overrated as DJs. I like the idea of a club that creates
world, surprising, surreal and independent from the outer world. It
needs a lot of creative audience to achieve that, no consumers. I
don’t like DJs who play only one style of music and only care about
how they can please the crowd. They should rather go into politics
then. Parliaments should be dancefloors, DJs should be conductors,
dancefloors should be auditoriums.
06: What would you
like to do in the future?
I want to work with
foley artists and create a composition for a cursing choir.
06: Can you send us
a picture of you, of a place or of something else that best
illustrates your current state of mind?
I attached a foto
that Evelyna Domnitch took of me in Amsterdam in her sci-fi lab.
3.4.13
1.4.13
Dimitris KU Papadatos Interview for 06:00am
06:
What is your parents profession? Can you describe the environment in
which you grew up?
My
mother is a travel agent and my father is a computer programmer who
later became a farmer. I grew up with my mother and sister around the
southern suburbs of Athens.Very close to the sea, so that I could
always get the big picture just by looking at the waves. I went to a
public school, and every Sunday we would gather at my classmate’s
house and watch all episodes of Nightmare On Elm Str in a row.
I
was also a boyscout. I guess I still am since one is always put under
the oath.
06:
Had you ever wished that you had invented something massive like the
blue jeans?
I
always wished I had composed Springsteen’s 'Thunder Road' which kind of answers your question.
06:
Has your music influenced your parents?
No,
I don’t think so .
06:
Where do you like to usually walk your dog?
I
take Daria almost everywhere I go if it’s in a walking distance.
She likes the park close to our house cause all her dogfriends are
there.
I
like mt Penteli but only on sunny days.
06:
What book(s) are you currently reading?
I
am re-visiting Brian Michael Bendis’ “POWERS” series, just
started Hillel Schwartz’s “THE CULTURE OF THE COPY” and
finishing “EVERYBODY LOVES OUR TOWN” by Mark Yarm.
06:
Why do you thank Kariofyllia Karambeti in the credits section of your
new album Feathers as KU?
Because
she taught me that everyone should get paid for their work, and
proved it in action and on her own private expense. Plus she gave me
some more great piece of advice.
06:
Tell us about your new album.
My
new album was released on 12’’ + free CD via Inner Ear Records on
the 26th of March. The name is Feathers and it consists of 9 songs.
The duration is almost 38 minutes. The music and lyrics are mine
except where specified on the liner notes. It was recorded on the
summer of 2012. It was produced by Prins Obi. My wife is on the
cover.
[RUBICON video directed by Corinna Triantafyllidis]
06:
Do you identify with any art movement(s)?
I
identify with every art movement there was, is and will be, except
action painting.
It
makes me sick in the stomach.
06:
Reveal a secret of yours.
I
have a secret Mimi Parker obsession.
06:
What is beauty for you?
A
neck ready to be kissed.
06:
Do you consider yourself to be talented?
Yes,
of course. My greatest talent is memorizing telephone numbers.
06:
If you owned a billboard what would you have on it?
It
would be a Felix Gonzales Torres.
06:
Do you believe that love can overthrow everything?
I
do. It should.
06:
Would you ever decide to go on an island where all your desires could
be fulfilled with the risk that you might never ever be able to
return?
Why
would I want to leave in the first place if I knew I would want to
return? So yes.
My
father left for an island and he never returned to the city. I envy
him.
06:
What features of contemporary Greeks quiet you the most?
If
you mean what leaves me speechless, I have to go with the fact that
greek society keeps repeating old mistakes and does that in the worst
possible ways.
06:
If the world is both overpopulated and underfed why are we opposed to
cannibalism?
Because
the mind is a terrible thing to taste, according to Al Yourgensen at
least. Never say never though.
06:
What was the most significant encounter in your life?
Meeting
my wife definitely. She made me look at the world in its real
proportions and this was the most important gift life had to give me.
17.3.13
10.3.13
9.3.13
Fabio Frizzi interview for 06:00am
06: Do you believe that if someone wants to make out with a lady should take her to see "Dracula"? What do you think is there in horror movies that could be stimulating in that sense?
FF:To conquer a woman there may be many systems. I, for example, prefer to make her laugh, have fun. But surely the charm of mystery and fear can help. And then today the community of lovers of fantasy and horror has expanded enormously. Anyway, as Freud says, adopting Heraclitus, Eros & Thanatos have a deep relationship.
06:What is creativity for you?
FF: Creativity is a magic moment. Actually happens. And that makes you feel like Gods. You have an idea in mind, a simple idea that looks like so many other thoughts. And like many thoughts could disappear at any moment and be forgotten. But you do not let her get away this time. You stand in front of a sheet of paper next to a piano and turn it into something different. You look, you feel, you listen to it. It 's always an idea, but now it is coming out and if you really like it, you can begin to give it a shape. The musician, like all artists is a craftsman who must work for a long time to get a convincing result. Much later, when someone is singing or whistling the theme finished, it will be difficult also for you, who created it, to remember all the composition process. Something magic.
06: How did Death Waltz Recordings came in contact with you for the reissue of Zombi 2?
FF: Spencer Hickman is a young record producer distributor in London, young but with a great experience and with very clear ideas. He knows that the modern discography has a target other than the one of 30 years ago, and realized that back bravely to vinyl (as many do some time now in London, New York and many other places in the world) could be a good choice. He is a good fan of my soundtracks, particularly those '70s and '80s. He contacted my agent and publisher here in Roma, Daniele De Gemini of Beat Records, who told me about the project. I found it brilliant and I immediately supported. Spencer probably will be the promoter of a concert that we're going to do in London next Halloween. Strictly on the music of Fulci films. Frizzi 2 Fulci the title.
06: Do you vote? What is your opinion about the current sociopolitical situation of Europe?
FF: For many years I did not vote, disgusted by the political reality, especially the Italian one. Recently I returned to vote, as a act of responsibility for the terrible situation we are facing. I think that since some years there has been a paradoxical situation, a kind of third world war, an economic war that has sanctioned the crisis of the so-called West economy. I believe a lot in Europe, social and cultural development of all our people, who certainly many common roots. But it is a long and treacherous period that will still need a lot of time. I am a big fan of Greece, have been there many times in my life and I have great respect and admiration for its ancient civilization from which we all come. And I really hope that the mechanisms of the European Union allow Greece to regain soon the serenity and perspective it deserves.
06: What is your favorite synthesizer and which is your favorite sound effect?
FF : When I started working in the early 70's, first synthesizers began to come out. I think I've used them all, each of them had a special charm and characteristics. After so many years, there are two elements that still fascinate me like the first time (apart from my TR808 and Jupiter 8 that are still in my studio since then): I speak of the Moog and Mellotron. Mellotron took me in the story of the mysterious paranormal appearances in the films of Fulci. The Moog is a masterpiece that still has a ductility and, I would say, a soul waiting to be discovered. Their sofware versions are extraordinary, but the originals do not fight.
8.3.13
3.3.13
18.2.13
Hacker Farm interview for 06:00am
Photo by Peter Anderson
06:
I'd like to start with some introductory information. Who are you,
where are you living?
Farmer
Glitch: “Farmer Glitch. In the depths of rural Somerset in the
UK.”
Kek-w:
“Kek. Yeah, ditto. I’m based in Yeovil, a small, slightly generic
market-town surrounded by fields and hills…”
06:
Who decided the name and what is the story behind ?
FG:
“From my memory, it was the idea of starting an Hacker Space type
thing in Yeovil for like-minded builders and we joked about hosting
it somewhere appropriate like a farm... although I seem to recall we
tried to originally label the band “Junk Crunch” as in the group
Hacker Farm present the noise-unit Junk Crunch…”
K:
“Yeah, the band was supposed to be Junkcrunch or Junk Crunch or
something similar, and Hacker Farm was supposed to be the local Makr
type organization behind it, a bit like the difference between Heaven
17 and the British Electric Foundation, I guess. But it got confusing
trying to explain the difference to people (laughs), so we quickly
drifted into just being Hacker Farm…”
06:
How do you compose? In your music it seems to me there are different
kinds of influences, from minimalism to improvised, passing through
the industrial scene... is there any group or musician that
influenced you in a special way?
FG:
“Two distinct ways, I seem to think: one is the idea of jamming and
then cutting up chunks of that work and using them… the other is
where one of us will improvise a drone/noise-piece and then we bounce
it back and forwards between ourselves until it reaches a finished
(?) track...
“The
closest group/person (although sounding absolutely nothing like us!)
who worked in very similar ways would be Miles Davis during the On
The Corner / Bitches Brew period where they basically jammed for
hundreds of hours before getting an edit down to more concise hour or
so.”
K:
“Yeah, definitely that Miles thing ! Also, Can had a similar
set-up: a studio-space where they played, recorded endlessly and then
distilled it down.”
06:
Can you introduce us to your "UHF" release?
K:
“Most of the material on UHF dates back 20, 21 months or more now.
It was recorded during what I would call our ‘Shortwave Period’.
We got into playing around with and investigating Shortwave Radio –
a medium that we hadn’t listened to since our childhoods. It was
something that we were curious about and ended up getting very
enthusiastic about for a couple of months. We even announced the
release of our first album Poundland on Shortwave, even though no one
was listening! (laughs). We ended up eavesdropping on and recording
radio conversations between people from all round the world – and
also in our own backyard.
“Not
all the tracks on UHF use shortwave sounds, but they mostly date back
to that period and are infused with that darkish, slightly
claustrophobic radio vibe: hiss and modulated sounds, carrier-waves,
voices talking to one another in the dark…radio has a wonderful
atmosphere; it’s mysterious and intimate; unstable, analogue,
alive… the complete opposite of the internet.
“There
are elements of Eighties Industrial, Noise, Improv, Kosmische and Old
School Rave on the album… but I think that maybe the track “One,
Six Nein” sits at its moral and emotional heart: it takes an
oppositional stance to a lot of the stuff that’s going on right
now, economically and culturally. It lists a few things that any
decent, sensible human-being would naturally stand against; it says
what’s-what and quietly draws a line in the sand. It felt right to
have a woman’s voice intoning it, and for it to be a bit bland and
matter-of-fact and not aggressively confrontational. Just someone
quietly saying, “enough’s enough’’, while the music seethes
beneath it.
“Sometimes
you can get your point across better musically by reining-in the
anger and frustration, and letting it lurk beneath the surface. I
think chunks of UHF are pretty good at hinting at that hidden anger
without constantly snarling and chest beating; instead, it’s
presented as a set of tensions – a series of dark surfaces that are
stretched thin, constantly threatening to rip open and reveal the
truths within.”
06:
Do you play gigs? What are your plans for the future?
FG:
“Yep, we play gigs and are lining up art-galleries / pubs / theatre
/ festivals for this year...”
06:
What is your idea of happiness?
FG:
“A hot soldering-iron and a flask of scrumpy…”
K:
“Writing, making art and music. Stuff that other people might think
of as working.”
06:
Had you ever wished that you had invented something massive like the
blue jeans?
FG:
“We don’t need massive blue jeans due to being rather trim!!
(laughs)”
K:
“I’d like to invent More Free Time. An open-source, hackable day
with its own API…(laughs)”
06:
When was the first time you remember really enjoying music?
FG:
“20thCentury Boy on 7 inch by T-Rex.”
K:
“Yeah, definitely. The Electric Warrior LP by T-Rex, on cassette.”
06:
Who do you still love listening to now who you enjoyed hearing as a
child?
FG:
“T-Rex / Tangerine Dream…”
K:
“Yep, me too. T-Rex, Bowie, The Sweet, The Monkees…”
06:
Free time is something we have to work for ?
FG:
“Yep.”
K:
“Yeah. But I also quite like the idea of turning work into a game
or a fun-thing-to-do. Some of the things that I find relaxing, other
people might think of as hard work… so I quite like the idea of
blurring the boundaries between them, finding ways of making work and
mundane chores or activities ‘interesting’. I think mobile
devices are starting to break down the differences between Work and
Play anyway. I’m sure my kids will probably be doing things that my
own parents wouldn’t even recognize as work…”
06:
We're all damaged by noise pollution?
FG:
“Nope...”
K:
“Not all noise is pollution, is it? I find certain frequencies of
road-drills, forexample, to be oddly relaxing when they’re a
reasonable distance away. I remember sitting in a library once, years
ago, and hearing a distant road-drill somewhere outside and instead
of being annoying, it made me want to go to sleep.”
06:
Can you send us a picture of you and a picture of something or some
place that best illustrates your current state of mind to post along
with your answers ?
Yes!
11.2.13
7.2.13
4.2.13
24.1.13
3 X 3
BALLROGG / CABIN MUSIC / HUBRO
Eivind Aarset / Dream Logic / ECM
HARRIS LABRAKIS QUARTET / METEORA / POLYTROPON
Eivind Aarset / Dream Logic / ECM
HARRIS LABRAKIS QUARTET / METEORA / POLYTROPON
22.1.13
Vanessa Rossetto interview for 06:00am
06: How did you get
related with music (in your early years, perhaps, or later) and which
was the first record that you played?
I didn't get
involved directly with music until later in life. I remember when I
was about five or six asking my mother to get a record player and we
joined the Columbia Record and Tape Club. My mum wasn't very up on
what was popular at the time so she went through and selected records
based entirely on whether she thought the band names and titles
sounded interesting, so we ended up with a lot of random things like
ZZ Top's Fandango (did not love) and some things that became lifelong
favorites like Sergio Mendes' Foursider. I mostly liked sound effects
records as a kid, though - was sort of obsessed with them, which
makes a lot of sense now.
06: Can you describe
certain types of "overlooked narratives" that you are
interested in exposing through your visual and sound works? Is there
a specific quality in these narratives that you are most driven
towards exploring?
Via field recording,
I capture unfolding real time narratives and try to reconstruct their
essence into new narratives in a compositional framework. By virtue,
the quotidian is often overlooked in favor of that deemed more
exceptional. I try and uncover the exceptional qualities of the
seemingly ordinary, the depth of the everyday. The act of recording
focuses one's ears, allowing the overlooked to be heard.
06: If we might ask: how was the environment during the first years of your life?
I was a very
solitary child, and that remains my nature now.
06: Are there
metaphors in your sound making and painting that are omnipresent?
Probably but they're
very individual and personal so I don't expect a lot of listeners
would pick up on them. I would not want to be too obvious!
06: Breathing,
organic matter, sounds of animals, continuous flow of things
appearing to be in process of becoming something, overexposed warm
colors, layering forms -random words that come up while experiencing
your work. Is there a clear voice or pattern or element that has to
emerge through these "compositions"?
I'm not sure. I
suppose over time patterns will emerge but it's hard to see them
while inside the process of making things. In art school we were told
to not fret over finding one's voice or style and that it was through
the practice of work that that would develop, most likely unbeknownst
to us as it was happening. Any conscious attempt at creating that can
lead to mannered gestures.
06: Is there a
person that has influenced you very much?
Personally, my mum
and grandmother. Musically, Luc Ferrari.
06: Why do you think
people come experience your shows?
I think they're
usually there to see someone else on the bill!
06: What is
happiness for you?
Being left alone to
work in some semblance of peace.
06: What is finally
a composer?
To me just an
organizer of sounds.
06: How do you
decide which sounds that you create with instruments are to be
blended in with your recordings? Or, how is this process really like
and what is the motivation behind it?
Over the course of
making things, timbral and textural needs arise that I address with
the addition of instrumentation. The process is long and deliberate.
I am interested in the line between discovered and intentional
sounds.
06: What is good
music?
I don't know that
there is any one answer to that that would be true for everyone.
06: Who is your
favorite painter?
As far as people
working nowadays, I'm pretty fond of Lance Austin Olsen's work
http://lanceolsen.tumblr.com/
06: Where do you
live now? Do you go out often?
I live in Austin
now. I go out extremely infrequently.
06: Would you like
to be as famous as the Beatles?
Like the Beatles, I
would like to make a film with screaming teenage girls chasing me
through the streets. They would all be myself as a teenage girl,
though, and I suspect they would be trying to catch me and take me to
task for my poor decision-making.
06: Is there a
person that you are glad you have met through this work?
Many, and if I
started naming names it would just turn into a huge list. I have some
degree of confidence that those people are aware of it.
06: What is the
importance of criticism, what is its role? How do you use the reviews
on your work?
Critique during the
creative process is extremely important and I'm fortunate to have
trusted friends to bounce things off of who will be honest with me.
As far as reviews, good ones are far more dangerous to believe than
any bad ones.
06: What do you
think is going on in the field of female art making within the frame
of the current art world as it is?
I try not to think
more about the current art world than I have to.
06: Could you do
something other than what you do in your life? Is there something
you would very much like to do but have not?
Well, I didn't start
doing this until later than a lot of people do, so I must have been
doing something else other than this in all that time but much like
people describing an intense love affair in which they can't remember
what they did before it, I can't imagine doing anything else now. I
would like to get out of the States and play and record in some other
parts of the world, though.
06: Do you like to
wake up early in the morning?
Yes, it's quiet and
there are already not enough hours in the day to spend any sleeping
late.
06: Do you think
that everything has been said and that we are just simply
rediscovering?
While I think people
should concern themselves more with trying to do something good than
with something no one else has done, I also believe that not
everything has been said. The pursuit of the new for its own sake is
like a dog chasing its tail.
06: What is so nice
about collaborating that you cannot enjoy while working alone and
what is so nice about working alone that you cannot get while
collaborating? (Examples of collaborations you have enjoyed are very
welcome)
Collaborating is
nice because you're not so much in a vacuum. Working alone can be
solipsistic which has its ups and downs. My collaboration with Lee
Patterson due out soon from Another Timbre is a good example of
collaboration partners helping to balance one another out.
06: Can you send us
an example, a picture that best illustrates for you the significance
of art in our lives?
see attached photo
"clarissa.jpg"
20.1.13
18.1.13
13.1.13
9.1.13
Juju & Jordash interview for 06:00am
06:
Can you describe your work for the people that haven't experienced
it?
G:
We try to make music you would like to hear both on the dance-floor
and in your living room...mixing up various musical influences/genres
and not sticking to formula's even though often the result is quite
dark and psychedelic
J:
it's the sound of falling between two chairs
06:
Is there a person that has secretly influenced you more than anyone
and anything in the world?
G:
from people i met in person,maybe my guitar teacher as a teenager
J:
not secretly… Udi Kazmirski
06:
In your opinion, what makes us undisciplined?
G:
laziness and too many options to choose from
J:
not really wanting to be disciplined
06:
What is perversion?
J:
dunno.
06:
What is revolution for you?
J:
I have no idea.
06:
What is the role of art?
G:
to take you to places you never imagined before, or give you new
perspective of ones you already know
J:
art has no role.. food has a role.
06:
Have you finally understood what defines your way of thinking?
G:
still working on that...
J:
crappy childhood
06:
What is/was your parents profession?
G:
mother was a teacher , father a banker
J:
father academic mother worked in an office
06:
What is your opinion about the work and the ideas of Sun Ra?
G:
I'm a huge fan of his music, and it has inspired me a lot
J:
I love sun ra. one of the 20th century's greatest.
06:
Do you consider yourself talented?
G:
on some days (kinda) yes , on others not enough
J:
I got some skills and wish I had more
06:
Which book (books) are you reading these days? Any specific line that
has been stuck in your mind from this reading?
G:
A Supposedly Fun Thing I'll Never Do Again by David Foster Wallace.
J:
none.
06:
Does your family have any relation with music?
G:
not really
J:
father and grandfather played some piano when they were young. both
gave up when reality set in.
06:
Which is your guilty pleasure in music?
G:
I love me some country steel guitar based music...
J:
I don't feel guilty about any of the 'crap' I listen to
06:
What does one loses when growing up?
G:
hair
J:
family members, friends.
06:
Do you do what you want to do in life?
J:
more so than I ever imagined possible.
06:
What do you perceive to be the major political/social/economic issues
of today, nationally and internationally?
J:
nationalism.
06:
Do you vote?
G:
I'd like to, but cannot vote abroad as an Israeli
J:
sometimes. when I can.
06:
How would you describe your politics?
J:
choosing the lesser of two (or more) evils
(click on image for fuuuull view)
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