Rebel Music- Earzumba gets to answer a few questions before tomorrow's live set at Knot

Earzumba (a.k.a Christian Dergarabedian) is the first artist to be interviewed by this blog and for this we thank him.

Keeping as many mistakes as we can from the original texts, here we go:

06:00am:  Do you want to remember and tell us how you started playing and recording music? What short of music do you do?

Earzumba: I started playing when I was 16 with an old depressing out of tune piano for 4 years then I changed for a roland synth and got my first  4track ministudio. After years I realized that I prefer to consider the music I do as rebel music rather than. Experimental.

06:00am: What is your engine metaphorically and literally? Meaning, what is the thing that keeps you doing what you do and with which machines- equipment do you like to do what you do?

Earzumba (a.k.a Christian Dergarabedian) No idea actually as I like to say composing sometimes its playing chess with yourself, takes time but if you are  into it its gonna work.
I DO THINK THAT IT’S A COMMITMENT WITH mySELF, LIKE ANYTHING  if there is no love involved in what you are doing, forget it, its not gonna work.
Any equipment, but I would love to have a bosendorfer imperial!

06:00am: You were born in Buenos Aires, Argentina, but you have been living in Europe, in Barcelona and Wien and you have been travelling around since 2001. In which ways do the cities that you live influence your music making procedures?

Earzumba (a.k.a Christian Dergarabedian): Its a mix in between my mood, the city itself, the space in which I can play, record, friends, people with whom you deal and the weather.

06:00am: In your web page you declare that you are “strongly influenced by the work and thoughts of Joachim Raphael Boronali”. So, could you please explain, what is the relationship, in your opinion, between the swinging donkey’s tail with a paint brush and the creation of an art work? 

Earzumba (a.k.a Christian Dergarabedian): For me the boronali “act” is more important than the whole Duchamp because it really turned upside down, questioned the art circuit and their values without looking to be recognized, a  low profile innocent act. But I prefer to see it more as a strong and powerful statement rather than a joke and since boronali  is underrated in art history this actually shows us that still historians can' t appreciate that boronali was the truly introducer of  modern art during the beginning of the 20th century, with no need to become part of history. On the other side Duchamp´s “ready made” became part of art history and circuit, so his work became what he was putting under question.

06:00am: You have collaborated with several artists since 1991 among which were Alan Curtis and Conlazo that you formed groups with, but also people such as Ernesto Diaz Infante, Damo Suzuki, Tomas Muller and the list goes on to many many more. What is the element that you brought into these collaborations, if you can spot it in a single point, and which was the collaboration that influenced you the most?

Earzumba (a.k.a Christian Dergarabedian): Improvisation is the main language of my collaborations. I can't tell which one influenced me the most, too many musicians different skills, chemistry etc. Sometimes the feedback from someone that is not a musician but has the chance to listen to my play influences me more because of their fresh approach to music. One collaboration that I really have nice memories is the one along Paulo Beto and Eloi Silvestre from brazil.

06:00am:Your music, especially in your solo projects, has a strange narrative force that is evident for example in the editions_zero #13 release of 2007 “Real Ruido Pastizo”. The piece number 7 is entitled “Bernardo y Sylvestre”. Can you elaborate here a bit on the links that you make with the composer Bernard Herrmann, famous for the soundtrack of Psycho, and with the Mexican composer Silvestre Revueltas?

Earzumba (a.k.a Christian Dergarabedian): The links between them are subjective. Sometimes ideas, answers, arrive to me IN A WAY that make me wanna try them if they work.

06:00am: Give your own synonym(s) to the word "time".
Earzumba (a.k.a Christian Dergarabedian): one way ticket.

06:00am: Give your own synonym(s) to the word "story".
Earzumba (a.k.a Christian Dergarabedian): unconscious.

06:00am: Give your own synonym(s) to the word "home".
Earzumba (a.k.a Christian Dergarabedian): complicity. 

06:00am: Aggelos suggested that we ask you the whole 40 questions of the “Proust Questionnaire” but got cut by my censorship and only three passed through, here they are:
What is your present state of mind?

Earzumba (a.k.a Christian Dergarabedian): Compassionate, sensitive. 

06:00am: If not yourself, who would you be?
Earzumba (a.k.a Christian Dergarabedian): Another one.

06:00am: Your favourite names? 
Earzumba (a.k.a Christian Dergarabedian): No names.

06:00am: The last time you where in Greece was for the concert you gave at the Museum of Folklore in Xanthi. Is this correct? Do you have a memory of this visit that stayed with you until now? What is it?

Earzumba (a.k.a Christian Dergarabedian): Lots of memories all indelible, really moved me, the hospitality, Greece itself, people, great memories !

06:00am: You play again in Athens and the date is this Saturday at Knot. In which fields do you think this live set will move towards? Do you have an idea of what an inspiring feedback from the audience might be? 

Earzumba (a.k.a Christian Dergarabedian): Chaos, pop catchy, my live shows are more close to pop than experimental but the most essential thing is if I flow with the audience and vice versa, hope so.


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