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Features
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Written by Administrator
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Sunday, 18 November 2007 09:23 |
25 years, its hard to believe that Trisomie 21 has been a musical force for that long. And their sounds are just as crisp and moving today as they were then. To celebrate their longevity T21 has recently released a 2 disc box set consisting of a live album and rarities spanning the first half of their career from 1978-1981. Recently we got the chance to chat with Philippe Lomprez about 25 years of T21, the business of music, the upcoming T21 tribute album and where do they go from here.
Congrats on 25 years of music! How does it feel to be as successful as you have for as long as you have in music?
PL. Time is a rather unpredictable notion. 25 years of career can sound crazy. All I hope is that people don’t judge us on our longevity, nor on the number of releases we made in our repertoire, but sincerely on the music we make. We focus on the present, far away from the emotions of the past which could make us faint.
The first part of the box set is a retrospective of rare material. How did you decide what songs to include?
PL. Simply based on the importance that these tracks have for Trisomie 21, for the expectations from the scene and the importance our audience give them.
What made you want to focus on filling this album up with more of you're rare and unreleased tracks?
PL. Such rarities played a key role for the future of Trisomie 21. And even if these tracks were not released back then, let it be concert intro tracks of working songs, unfinished cuts or ghost tracks…
The live disc in the set Rendez-Vous en France, was recorded during the Happy Mystery Tour. Why did you decide to focus on that particular tour for a live album?
PL. That tour happened for our 25Th anniversary. Nothing was really planned, we just realised it while on tour. And since this is a good album, well enough reasons…
After being together for so long, you must have some fond memories.What are some of your favorite moments on tour or in in the studio?
PL. We are by essence a studio band, we prefer the creative process to the live performance. Composition moments when everything clicks and takes shape are magic. It’s also a way for us to meet other musicians that we choose to work with for one same cause. With time, we also realised that by playing live we could also explore another side of our music by reworking our songs and upgrade them according to our feelings. The encounter with our audience is also something very important for us, naturally, without show—off. We are very accessible after our concerts to our fans and we refuse the « star system ».
In they past you have both worked on other side projects. Are other things you're working on other than T21?
PL. Nothing else other than Trisomie 21 counts in our eyes…
You also have had a tribute album of your work done, Followers in the Moonlight, what artist contributed to the album and how did you decide what materials to put on the album?
PL. Todd Jones in the USA, played the role of art director on that project. That tribute is open, it symbolises well our attitude.
Does it ever feel odd to hear others interpretations of your work?
PL. When somebody decides to make a cover version, the song becomes somehow their own and they do whatever they feel with it, we give them entire freedom… Usually we won’t comment the covers we hear. But overall, there are interesting interpretations…
Why doesn't T21 ever tour the US? Are there any plans to maybe one day come state side?
PL. We will play the USA as soon as we get the opportunity to do it ! Hopefully for the next studio album, who knows ?
The business of music has been making massive changes over the last few years, going more and more electronic. How do you feel these changes will affect artist in the future?
PL. Technologies are taking a larger and larger part in our everyday life. The same happens to music. The main change is commercial : music has become a usual consumption product. We are far away from the original notion of the artist. I think that the majors are mainly the ones to blame. They wanted to make easy money. Technology also played its role in all this, technologies offer to some users some artistic sensations, at least they live it this way, but one has to sort the gold amongst the dross.
Now, we have no solution to give, but it’s not to the artists to find it, we have a different role to play. So the attitude of the people will play a key role in all this.
After being in music for 25 years, you've seen all different sorts of fads and trends come and go. what do you see as the future of electronic music?
I can’t say. As far as we are concerned, our next album will have a more human dimension. We always said that technology had to service humans and not vice versa. Technology can be a way for us to discover new emotional horizons , but let’s keep the human aspect in the core of the structure.
Who are some of your favorite newer artists?
PL. We don’t listen to much music actually. It can sound strange to you, but it has always been like this since the beginning of Trisomie 21. This said, for our « the man is a mix » project and the following remix works we worked on, some re-mixers really impressed us with their work. I for example think of some French artists like Jack de Marseilles, Milimetric, My Park, celluloid, Parker lab.
Whats next on the horizon for T21?
PL. In 2008 we will release our new studio album. It’s our top priority right now, we are totally focusing on it as we speak. Concerts will probably come next…
Anything else you would like to add before we wrap?
PL. I want to thank all American fans for their faith in us, they are more and more through the years. I can only guarantee them of our sincerity in our work and invite them listening to our future releases . They know that we are constantly struggling against the natural human trend to take the easiest way. We hope to meet them some day and play over there and share some words and feelings in direct without go-between…
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Last Updated ( Sunday, 18 November 2007 09:23 )
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Written by Administrator
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Sunday, 18 November 2007 09:17 |
Its still dark when I tumble out of bed at 4am, as I try to force myself to wake and stumble into the shower I begin wondering how the hell I managed to let the day job talk me into coming in so early this week. I'm pretty sure this isn't the last of the mental floggings I'm going to be giving myself over the matter as the days drag on. Its 5am by the time I dressed and ready to drag my still sleepy carcass out the door. Its freezing outside and Los Angeles is covered by the thickest layer of fog I have ever seen. YelworC's new album Iscolation blares in my ears, the dark waves of beats and movie samples are the perfect accompaniment to the all too quiet city and propels me along. While sitting on the train trying to stay awake I get an email from BAAL Records, a smile passes along my tired face I know its the YelworC interview I've been waiting for. As my commute progresses my mood begins to lift as I read YelworC's insights on music, art and Dante's Inferno.
It had been over 10 years between your last album and Trinity, what made you come back as YelworC after such a long time away?
Oh, I said it many times. Basically, all of our fans kept writing E-Mails and asked us to finally publish new material. Last but not least, of course, there were also E-Mails from our American fans who were definitely most enthusiastic about it J
Trinity was more of a concept album based on themes from Dante's Inferno, why choose Dante as a theme for that album?
Actually, the themes from Dante’s Inferno were chosen out of many reasons. One main reason was my still lasting love for Gustave Doré’s artworks. Secondly, my life sometimes turned out to be very dramatically and therefore the aspect of hell could totally be compared to my private disasters. ;-)
I like the plot of the story when Dante explores hell, purgatory and paradise.
I view this as the personal journey of Dante and myself.
The only difference between Yelworc and Dante is the missing leader in my journey. Thus, I am the passenger and leader in one.
The atmosphere in Yelworcs’ journey is therefore sometimes a little bit contradictory; two different voices in my brain ;-)
Is there any one theme or concept that you've put into play for Icolation?
Icolation is the second part of the Dante Trilogy. Trinity was the first chapter of the journey to hell and now Icolation is the journey through purgatory. The next album “Any Heaven?” will be released next year and is going to be the journey to paradise. Icolation describes the purgatory of the people in general, the loneliness within the society. YelworCs’ lyrics mostly signify an apocalyptic atmosphere tho not meant to be resigned.
Also, I’d like to mention the artist Joachim Luetke who designed the artworx for Eclosion and Icolation. He is very well-known for his puppets which he made for Marilyn Manson’s video clips and his work for Dimmu Borgir.
How do you feel your music has evolved over the years?
I think it’s getting darker and darker.
Significant for YelworC, the harsh rhythm is still on, but the sequences became more soft. More and also classical instruments were chosen and combined with metal elements they show a great variety of sound which we didn’t use in the beginnings of YelworC. Besides that, I am still very much into movie samples that I still use to establish dramatic high lights.
Since Trinity YelworC is a One-Man-Project. But now, on some tracks I was supported by Connie, whose additional vocals can be heard on my album Eclosion (available on Metropolis MailOrderShop) (one track) and of course on my new album as well (three tracks).
You were involved in a few side projects when YelworC was on hiatus, how does your work there differ from what you've done with YelworC?
Those side projects differ from what we’re doing, because they were ordered works and the style was more in the minimalistic way of film music by John Carpenter.
By now everyone knows that YelworC is Crowley spelled backwards. How much if any of your work is based on his works and teachings?
YelworC exists since 1988. Back then, Aleister Crowley has been the most important inspiration. On musical basis, bands like Coil, Skinny Puppy, Laibach influenced us mostly.
After all we’re interested in Tarot, Kaballa and the long history of secret science so to say (occult). For me, music and magick belongs together. Crowley was simply the funniest and most provoking person out of many. Actually he’s no idol for me, just an inspiration.
YelworC as an anagram of his name signifies the attitude of openness. Based on the history, the society’s morality is to be seen as totally relative. The “truth” is luminous.
I hate the self-confidence of most christian people, but besides that i also don’t like “anti-churches”.
Everyone is supposed to find his own truth and therefore always has the right to change his point-of-view: everything keeps flowing...
YelworC, for me, is a synonym for the radical search for the philosophers’ stone. Under this aspect, the music is more like an instrument and artistic expression at the same time.
Now that YelworC is back are there any plans to tour with the new albums?
Yet, I didn’t have a chance to found a live crew until now. In Germany and within the scene, every good musician is involved in his own project and therefore it’s difficult to find people who can identify themselves with our style of music and our philosophy. I really don’t want to do a ‘Playback’-show. I plan to do it live – with real musicians, no tape recorder...
Are you still involved with any of your other projects? or are you going to spend time focusing on YelworC for now?
Ten years ago, I tried to establish myself in film and theater music, but after all I didn’t continue because I couldn’t find enough time to keep doing it. But, who knows, maybe one of the great American movie makers need me for their next project J (orders will be accepted)
How have people been receiving the new material?
Published in the US by Metropolis and in Germany by Soulfood and by my own label BAAL Records / Inc. with Minuswelt Musikfabrik, most peoples’ feedback has been very well. Actually it was said not to be meant for clubs, but that’s mainly not the reason why i make music. By now, I am very suprised that many people out of different musical scenes like my new album. That’s what counts I would say...
Most of your older work with YelworC has been out of print for a long time. are there any plans to re release any of the older material?
No, not yet. Right now I have so many new ideas for new tracks and keep concentrating on it.
After being in the business for such a long time what do you see on the horizon for YelworC?
As I already mentioned, I’m already working on the next album “Any Heaven?”.
I hope to gain some money by selling the album Icolation since thousands of illegal downloads can’t pay the rent, so to say...
Anyway, the next album “Any Heaven?” will sound a bit hellish too ;-) So, don’t fear...
Anything to add before we wrap?
“Essence awake” as I always say... |
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Last Updated ( Sunday, 18 November 2007 09:18 )
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Time Spent with Transmission0 |
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Written by Administrator
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Sunday, 11 November 2007 07:13 |
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There was quite a gap between Memory of a Dream and your last album. Why did it take so long to bring Memory of a Dream to fruition? The songs for “memory of a dream”were finished some three years ago and in that time we Were building a new studio/rehearsal room,but due to all kinds of problems we had to abandon That project which resulted in a significant delay.Apart from that,the album could have been out Almost a year sooner,but it is in the hands of your label when it is being released,and they couldn’t do it any sooner,hence the big gap between the two albums.
With Memory of a Dream you seem to be taking a much different approach to your previous work, what prompted the move to such a unique direction? When we recorded our debut album we didn’t have a real picture of what direction to take, So the album turned out to be quite experimental sounding.In that time we also didn’t have a Drummer or second guitar-player,so by the time we were ready to record “memory of a dream” We had a much better view of how we wanted to sound and what we wanted to achieve. Another big difference is the fact that our studio is now much more up to date,so the record Sounds much bigger and fatter.
How would you describe what you've accomplished in releasing Memory of a Dream? We feel that we have been able to create a much more homogenic album,in which we can Include all kinds of influences,without making it sound as if we are not able to choose one particular style.There’s quite a natural flow in it,at least,that’s how we feel about the record.
You signed with Candlelight Records earlier this year, do you feel the label change will have a more positive effect on future material? Are there any of your new label mates you're looking forward to working with? Us signing to Candlelight is not a label change,but an addition,because Go-Kart is still Doing the European market.Candlelight is doing the american release only... As far as the material we write,that is not influenced by anything but ourselves and that will Never change.Candlelight has a lot of cool bands of course,which would awesome to work With,Emperor for example,but it’s gonna be very hard for us to pull that off.I don’t think it is Going to happen,but we keep hoping of course...
You've been playing a lot of the big festivals in Europe this summer, how has the new material been received on the road? The new material has been received very good actually,with the Printemps de Bourges Festival in France as highlight,where the French kids actually had found a way to mosh And stagedive on our music(!!)
In September you're playing the Zxzw Festival in Holland. That show is going to be more of a theater show, will doing a show like this be different from how you normally perform? For ourselves it won’t be that different,because we still just have to play music.The difference Will be in the preparation of the show,because we will have dancers,visuals and so on.So we Have to work together with the dancers,light-engineer,sound-engineer and VJ to make it a Tight show,which will be a fun challenge i think...
Now that you're signed to Candlelight Records are there any plans to tour North America? No.
Anything you want to add before we wrap? Yeah,to the kids out there:Keep moshing and stagediving on our shows,because we loved That,it gives us great energy to play like that!!!! And to you:thank you very much for this interview!!
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Last Updated ( Sunday, 11 November 2007 07:14 )
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The Lovely Octavia Sperati |
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Written by Administrator
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Sunday, 11 November 2007 07:09 |
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One of the most awesome things on this planet are women who rock. Now I am not saying that just because I am a woman and feel the need to strike some sort feminist statement or anything, but when you get a group of women together who know their shit and how to bring it, its just killer. And when they bring the kind of class, elegance, heart and heaviness like the ladies of Octavia Sperati, you're getting pretty close to perfection. I got the chance to chat with Octavia Sperati to talk about all things metal, history and haunted theaters. How did you ladies come to form Octavia Sperati? OCTAVIA SPERATI took shape in Bergen (Norway) in 2000, basically as a result of new friendships and common musical preferences. Sharing a general interest in heavy metal, the girls met through the local metal scene, where they so far had been compelled to enjoy the music from outside the stage lights, as spectators and not performers. Getting to know each other, and getting along really well, they decided form their own band, and OCTAVIA was born. The first line-up consisted of Silje Wergeland (vocals, synth), Trine C. Johansen (bass), Bodil Myklebust (guitars) and Gyri Losnegaard (guitars). Shortly after, drummer Silje Røyseth joined the band. In 2001, Silje W met Tone Midtgaard and invited her to replace her on keys, completing the line-up. The line up has remained the same, except from 4 drummers coming and going. Ivar Alver has now been a permanent member in Octavia Sperati for over a year. Octavia Sperati and a wonderful and unusual name for a band. How did you come to it? Does it have any sort significance to your native Norway? The name was Trine's (bass) idea, and it is taken from the most beloved sister of the Emperor Augustus of Imperium Romanum. Octavia was wise, beautiful and strong, `a pearl among women', according to her brother. A rival to Cleopatra, she was just as beautiful (or even more) and the story tells that she was just as clever as her famous brother. Octavia was loved and admired by the people of the Roman Empire, meaning whole Europe at that time. We like the idea of using the name of a woman who symbolizes both strength and integrity and the grand era that she was a part of. When we discovered that there was another band called Octavia, we added the `surname' of another Octavia; Octavia Sperati. She was an actress at the local theatre, and is now haunting the building. We usually just use the short version of the name, but officially it's Octavia Sperati. For some of your work you were granted some funds from the Norwegian government. Does having a small bit of political backing place any sort of obligations on you as artists? No. Then we would never have used the money. That is very important to us. I know it isn’t very common in many other countries (expect Nordic countries and Holland). Giving money to bands is just to increase the chances to build the music life of Norway. We are a very small country where everything cost a shit load of money. Norway is one of the riches countries in the world, so I guess this is just to help bands get out there and be part of building up a solid music industry. You know if you don’t have any good bands you don’t have any music industry. I know many bands say they don’t want any money from their shite Government, but hey! It`s free money with no obligations (except that you have make a solid application and report afterwards of what the money were spent on) and they give you a chance to make your dreams come true heheJ Since the beginning you have been able to play with some incredible bands. Who has been you favorite to work with thus far? Oh, that is a difficult one. Most bands are just a pleasure to be around with. We always have a lot of fun on tour and usually meet great people. Last tour we did was with Finntroll and Amon Amarth and those guys were so cool and so fun to hang around with. We were all very sad it was just a week tour. While there are more women in Metal now than there used to be, do you still find it difficult to be taken seriously as a mostly female band? Well, sometimes yes. Some men get surprised that we actually can play and put up our own equipment. It is really annoying. There is a lot of skepticism out there, but mainly when they get to know us it disappears. The position of drummer has been a difficult for Octavia to fill in the past. Do you feel that bringing Ivar into the fold has permantly filled the position? Yes. He is a very solid drummer, and we go on very well with him. Norway has always been a country known for their incredible bands, especially all of the different sub genres of Metal. Why do you think such brutal music comes from Norway? Where do you feel Octavia fits into Norway's Metal tradition? Well it is so f…… cold and rainy up here so I guess we are all a bit depressed and stay a lot inside our caves and take out all our misery in the music hehe. I feel that Norway is mainly known for black and gothic metal. We are neither, but we have parts of both and many other different genres in our music. It is not easy to bring something new into the music scene these days, but by the feedback we get it looks like we have created something different and solid that seems to be very welcoming. How would you compare the creation of Grace Submerged to you first album Winter Enclosure? Was it easier for the second album? Or was there more pressure to match or surpass what was done on the first album? We knew that this album was going to be better than the last one, so it wasn’t much of a pressure to match the WE. Mainly because we have worked hard to improve our musical skills and developed in the right direction as a band. GS is heavier and has more of a musical approach we wanted on the first album. We wanted more frames around the songs, but at the same time we were open for whatever we liked that popped into our minds. GS might be slightly more rocky some places, but the sound is better and more heavy. In a way it was easier to create, but we always spend a lot of time on each song, so it feels very much the same. We are of course hoping that people will like this one just as much (or more;) than WE because this is more of the right direction for us. But I mean it isn’t a big difference from the first one, we are still doing that Octavian soundJ With Grace Submerged finished, I would like to hope you will be touring in support of the album. Will any plans to hit the road include North America? *crosses fingers* Thank youJ We have heard that our record company over there (Candlelight records) has some touring plans for us, but at this point there isn’t much I can tell you about that right now. We would very much like to come over, so we will try to make it happenJ Some have compared your sound to bands like The Gathering and Candlemass. Does it bother you when people compare you to other artists? If you had to classify or define your music how would you describe it? It is something we have to live with. As long as the comparison is based on reality (hehe) we don’t mind, but when we get compared to other bands like Epica or Nightwish just because we have a female singer we don’t really understand where it comes from. I know many people have problems defining our music, and I understand it can be difficult because we don’t play just one type of metal, but I think the Kerrang!/Metal Hammer journalist Dom Lawson had a good description once: ‘Extravagant, dramatic doom with a rock ‘n roll heart`. Is there anything else you would like to add before we wrap? Many thanks for the interview and hope to see you “over there” soonJ |
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Last Updated ( Sunday, 11 November 2007 07:10 )
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