חלק רביעי ואחרון מתוך עבודת המחקר של גיא בלומנפלד על "Life Forms" של ה - Future sound of London
מבחר ציטוטים חשובים ומעניינים של בריאן וגרי על החוקים המשעממים של הדאנס, על הקשר בין אי סדירות קצב הלב של גרי למוסיקה שהוא יוצר, על הפתיחות לפסיכדליה, ועוד. פוסט אחרון בסדרה.
- "Around Lifeforms we came to the conclusion that dance music had become a very lazy way of evaluating music, almost a set of rules based around the beat, the bass, and all these things. So we cut out the bass line and the beat and were just left with the Sonics. We just cut the enemy out."
- "Was it an actual overreaction? I’m just very hypersensitive and allergic to lots of things and just generally my energy wasn’t even and wasn’t good. I had a heart, which – we always joke actually that the reason why FSOL was so arrhythmic was because my heart is massively arrhythmic. If you look at the pulse of music it’s probably related to the life force in the heart, so I’ve had an arrhythmic heart since god knows when – but it was knocked off kilter at some point. I was diagnosed by a Chinese acupuncturist who said, actually I’m really worried about your heart you have to go and see somebody. And one thing led to another, I didn’t agree with the doctor’s prognosis for me so I got into iovadic medicine and travelled off to India and went East basically. "
- "I mean, to get back to your question, the more that I began to get well, the more that I began to be open, the more that gradually the psychedelic dimension came in. By psychedelic I mean, the childish openness to see that the world is a multi-dimensional, colourful, unlimited place. A lot of people would say that FSOL was very multi-dimensional and of course it was, we pushed for it to be that, but a new dimension opened "Whereas before we had the journalist who would say – it used to make us laugh actually, because they used to come in and say, “yah, you are like Brian Eno”, and we would say, yeah, we’re very Brian, but actually, fuck, if you listen deeper we’re actually an organic electronic filter of a lot of stuff, from fucking Sinatra to Barbara Streisand, to Mahavishnu Orchestra, to Debussi, to Cocteau Twins."
- "I’m the guy who says too much, Brian is the guy that says too little, and within that balance he’s learning from me, I’m learning from him – we come to a Ying and Yang balance. Brian is the man that utilises technology to write, and he’s always inspired by technology, I’m inspired by going out there and being triggered by people, emotion, philosophy, literature – and then I come to technology and I spill that through the technology. And when I come from my travels, Brian is there, waiting basically, and he’s done his research in technology, I’ve done my research – not that we are mutually exclusive, he obviously does have a life and does filter people, but primarily you have to be simplistic, this is quite good, I think this is truthful, Brian is very turned on by tech and I’m very turned on by the feminine aspects, communication. So in there really is FSOL, and if it gets out of balance and I take control too much you probably get a bit more of the Amorphous Androgynous thing, so I’m trying to bring him in a bit more to stamp his technology on it, because Amorphous Androgynous is very complex, it’s a big band and The Isness was a very complex album. And we achieved some of it, and still actually technology was catching up with the way we were doing things, y’know, we were combining bands and recording with technology in a way that was quite new at the time."
- What we're interested in is the game you can play with ears, the ability to sit in your front room and start using your ears instead of just looking. It's like radio theater. If you want to experience our transmissions you don't come hear and watch us, we're not into the visual element. FSOL are about the ears."
- "Ya, so you like Tangerine Dream and Kraftverk?" And I used to think "My God, we must be doing something wrong! I love so much music and people only hear the electronic." I didn't want to just be a genre. That's why at the beginning of that press release I wrote, "File under Prog-rock, raga, etc. . . ." It was just the idea of "Fuck genres, man!", because genres are organized by businessmen, and businessmen are killing this industry right now. That's the reason why a lot of really great artists are just running with their tales between their legs and doing the same thing they were doing 10 years ago. And I just find that quite sad."
- "We almost grew up in a super table of electronica with these people. It's very interesting to me to see how people react to the current climate. It's really interesting to me to look at The Orb and the Aphex Twin and the like. I can't help but feel that because the music industry has become so corporate that people within the industry are dictating to artists much stronger now. To a certain degree that cutting edge avant garde electronica has really had its powerful day. There was a point there…this beautiful, glittering moment in about 1993 where avant garde electronic music was hitting a reverence all around the world. There's still a market for that, but it's just a market. In 1993 that kind of music was a shift of consciousness."
מקורות:www.allmusic.com by Sean Cooper www.atomicduster.com Interview and transcript by Tone E music.yahoo.com Ken Micallef 08/25/1997, Yahoo! Music www.popmatters.com by joe silva October 2002 www.residentadvisor.net 19 Sep / Norah 2002 www.spannered.org Tamara Palmery By Tama 1 July 2002 Tamara Palmer www.barcodezine.com December 2006 www.getafixx.com en.wikipedia.org
המאמר נכתב במסגרת קורס פרספקטיבות מוזיקליות ב- "Muzik - בית ספר גבוה ליצירה והפקת מוזיקה", בהנחיית עמית הכט
לכל הפוסטים בסדרה:
חלק ראשון: הסאונד העתידי של לונדון, ישר ממנצ'סטר
חלק שלישי: סקירת היצירה - Life Forms של FSOL
חלק רביעי: Future sound of London - ציטוטים נבחרים
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