Eyeless In Gaza - Aποκλειστική συνέντευξη!

Εχουν περάσει 25 χρόνια από τα αγχωτικά μπλιπ-μπλιπ και τα φουτουριστικά συνθεσάιζερ του kodak ghosts run amok. Ηταν 20 χρόνια πριν όταν η εκλεπτισμένη μελαγχολική  κιθαριστική ποπ του “back from the rains” δεν μπορούσε να ξεκολήσει από το πικάπ και μου είναι λίγο δύκολο να πιστέψω ότι σε μερικές μέρες οι avant garde μελωδίες και τα post punk ξεσπάσματα του αγγλικού ντουέτου θα ηχήσουν ζωντανά στην Αθήνα. Η συναυλία των Eyeless In Gaza έρχεται σαν μια μικρή όαση φαντασίας και συναισθηματισμού στο συναυλιακά φορτωμένο φθινόπωρο του 2006 και ο Martyn Bates με τον Pete Βecker μας μιλάνε αποκλειστικά για το παρελθόν, το παρόν, την Cherry Red και τη τέχνη του να είσαι πουριτανιστής, δύστροπο γουρούνι, εραστής του μεταφυσικού ή απλά μουσικός...

 

 

 

•  Διαλέξατε το όνομα Eyeless In Gaza πριν από πολλά χρόνια, περίπου την εποχή που γνωριστήκατε, και έχει άμεση σχέση με το ομώνυμο βιβλίο του Huxley, αλλά και θρησκευτικές και πνευματικές προεκτάσεις. Μετά από τόσο καιρό, πόσο σας αφορά το όνομα αυτό ως προσωπικότητες; Είναι απλά ένα σύμβολο του παρελθόντος ή ενστερνίζεστε ακόμα τα βαθύτερα του νοήματα;

  Pete: Απ’ όσο ξέρω, κανείς άλλος δεν χρησιμοποιεί το ίδιο όνομα για συγκρότημα, οπότε ναι, μας αφορά ακόμα. Δεν το βλέπω ως σύμβολο του παρελθόντος γιατί ακόμα κάνουμε μουσική μαζί και είμαστε η ίδια μπάντα, παρόλο που η μουσική αλλάζει και εμείς μεγαλώνουμε. Eyeless In Gaza παραμένει το όνομα για το project, το συγκρότημα και τα συναισθήματα.

  Martyn: Το βαθύτερο νόημα το ενστερνίζομαι ακόμη. Το όνομα ίσως ήταν προβληματικό για κάποιους, αλλά το επέλεξα επειδή φαίνεται και ακούγεται ωραία – με τον ίδιο τρόπο που ένα παιδί εξερευνά τις πρώτες του λέξεις και αγαπημένες παρηχήσεις – είναι ερεθιστικό να λές τη φράση.

 

•      Για έναν καλλιτέχνη, όσο και να αγαπάει τις όμορφες μελωδίες, ο πειραματισμός είναι κάτι το αναπόφευκτο. Η παρουσία του στην τέχνη μπορεί καποιες φορές να οδηγήσει σε αποπροσανατολισμό και απώλεια στόχου. Υπάρχει χρυσή τομή μεταξύ pop μουσικής και πειραματισμού;

  Pete: Ο μουσικός πρέπει ν’ ακολουθεί την διαίσθησή του. Οταν την ακούει προσεκτικά θα του πει πότε είναι η κατάλληλη ώρα για αλλαγή, για μία καινούρια προσέγγιση, φρέσκα ερεθίσματα ή επιστροφή στα παλιά για επαναδιαπραγμάτευση...Δεν υπάρχει συγκεκριμένη χρυσή τομή. Αλλάζει, όπως ο συνδυασμός των φαγητών που σε ικανοποιούν τη συγκεκριμένη στιγμή...Αλλοτε αλμυρά, άλλοτε γλυκά ή και κάτι τελείως διαφορετικό. Η ποικιλία είναι που διατηρεί την αίσθηση της γεύσης ζωντανή στο νέο και στο οικείο. Όσον αφορά τη μουσική, υπάρχει πάντα μια οικεία φωνή που αφηγείται καινούριες ιστορίες.

  Martyn: Σαν συνθέτης νιώθω πως η σύνθεση είναι το κυρίαρχο. Πρώτα έρχεται η στιγμή της έμπνευσης, μετά η κυριότητα αυτής και μετά η τεχνική που πρέπει να εφαρμόσεις. Δεν υπάρχει φόρμουλα εκτός από το να ακούς την ψυχή σου, αυτό είναι όλο. 

 

•        Πιστεύω ότι κάποιοι δίσκοι των Eyeless In Gaza ήταν αρκετά poppy. Για παράδειγμα, το “welcome now” θα μπορούσε να είχε γίνει top-10 single. Γιατί οι Eyeless In gaza  δεν μπήκαν στα charts; Σας απασχόλησε ποτέ να γίνετε πιο δημοφιλείς;

  Pete: Το 1985 συνειδητοποίησα ότι δεν θα γίνω ποτέ pop star. Είκοσι χρόνια αργότερα, προσπαθώ ακόμα να συμφιλιωθώ με το γεγονός αυτό. Στον κόσμο των top-10 singles, οι Eyeless In Gaza θα ένιωθαν εγκλωβισμένοι. Η πραγματική ή φανταστική πίεση του να γράψεις ένα top 10 single δεν είναι για μένα , αλλά για αυτούς που το έχουν ανάγκη.

  Martyn: Πως θα μπορούσε να μας αποσχολήσει κάτι τέτοιο; Είμαστε αρκετά διεστραμμένοι από τη φύση μας για να το σκεφτούμε. Στυλιστικά, αποτελούσαμε πάντα πρόβλημα για αυτούς που ήθελαν να μας κατηγοριοποιήσουν σε συγκεκριμένα είδη – δεν ταιριάζουμε πουθενά, δεν μένουμε σε ένα μέρος, ποτέ δεν το κάναμε...

 

•        Ας μιλήσουμε λίγο για την θρυλική Cherry Red records. Συγκροτήματα όπως οι Εyeless In Gaza, the Monochrome Set, Felt, the Passage, Everything But the Girl και τόσα ακόμα, δημιούργησαν εξαιρετική μουσική με καλόγουστη καλλιτεχνική αιθητική. Μπορεί να οριστεί κάποια κρυμμένη φόρμα ή ένα κοινό χαρακτηριστικό για αυτές τις μπάντες;

  Pete: Δεν είχα καταλάβει ότι είναι θρυλικά πλέον! Φαντάζομαι ότι ένας κοινός παράγοντας είναι ότι υπέγραψαν όλοι συμβόλαιο με τον Mike Alway ( Cherry Red A&R) o οποίος έκανε το φιλτράρισμα. Οσο για κάποιο κοινό μουσικό χαρακτηριστικό, θα έλεγα ότι υπήρχε μια κάποια ευθραυστότητα, μελαγχολία, εσωστρέφεια και απλότητα στο περιεχόμενο και στους χαρακτήρες που συμμετείχαν. Νομίζω ότι οι περισσότεροι ήταν αδιάφοροι προς τις συνηθισμένες rock n roll παγίδες...Ο Μike μας αποκαλούσε όλους “the new puritans” για ένα διάστημα, και νομίζω ότι καταλαβαίνω που το πήγαινε.
  Αλλά οι περισσότεροι μουσικοί ήταν συγκεντρωμένοι στο να κάνουν το δικό τους με το καλύτερο δυνατό τρόπο και δεν έδιναν σημασία στις ταμπέλες. Αν και ήταν αρκετά διασκεδαστικό τότε, ιδιαίτερα την “Long Mac “ περίοδο. Μια άλλη φράση που θυμάμαι σε αντίθεση με τα παραπάνω, είναι “Pigs on Purpose”. Aυτό πρέπει να βγήκε από τους Nightingales και αναφέρεται στους καλλιτέχνες που γίνονται επίτηδες δυσνόητοι ή δύσκολοι όταν προτρέπονται να γίνουν πιο αποδεκτοί στο ευρύ κοινό.

   Martyn: Είναι απλά η δουλειά ξεχωριστών προσωπικοτήτων, όχι ακόλουθων της μόδας.

 

•      ‘Ενα ιδιαίτερο στοιχείο στα τραγούδια σας είναι η αίσθηση του να ανακαλύπτεις ξανά μια μελωδία, δομή ή νόημα στο καθένα από αυτά, κάτι που οδηγεί, μάλιστα, στην κινηματογραφική αισθητική της μουσικής σας. Πως είναι να παίζεις τέτοιου είδους μουσική ζωντανά και ποια η διαφορά ανάμεσα στη συναυλία και την studio ηχογράφηση για τους Eyeless in Gaza;

  Pete: Στο studio έχεις μια τεράστια παλέτα από την οποία μπορείς να διαλέξεις. Σχεδόν τα πάντα είναι ηχητικά εφικτά σήμερα – ειδικά μετά από την εισαγωγή των computers στην ηχογράφηση και το μιξάρισμα. Παρόλ’ αυτά οι περισσότερες ηχογραφήσεις των Eyeless In Gaza έχουν ισχυρό το στοιχείο του αυτοσχεδιασμού και του τυχαίου. Αυτό είναι σκόπιμο και σε αντίθεση της προβλεψιμότητας του “OK – I am going to record the guitar overdub now and I know exactly what I am going to play”. Οι ηχογραφήσεις γίνονται αυθόρμητα και ποτέ για πάνω από δύο ώρες τη φορά. Μετά τις βάζουμε στην άκρη και επανερχόμαστε σε αυτές αργότερα – καμία φορά χρόνια μετά. Πολλές φορές τις ξανακούμε και δεν έχουμε καμία ανάμνηση του ήχου τους.
  Στις συναυλίες ο αυτοσχεδιασμός παίζει το ρόλο του, αλλά κυρίως επικεντρωνόμαστε στην επίτευξη μιας έντονης παράστασης – παλεύοντας για ένα συγκεκριμένο συναίσθημα και την παρουσίαση του σε ένα live χώρο. Τελευταία ψάχνουμε ασυνήθιστους χώρους για τις συναυλίες μας, που θα μας εμπνεύσουν με το δικό τους τρόπο (πχ η εκκλησία της Αγ. Αικατερίνης στις Βρυξέλλες)

  Martyn: Είναι αδύνατο να διαχωρίσω τα δύο (studio και live). Για μένα (η μουσική) είναι αναπνοή, διαχωρισμός του ευατού μου από κάθε τι μη υπερφυσικό. Για μένα η διαδικασία της δημιουργίας αφορά ΜΟΝΟ την απόλυτη βίωση της μουσικής κάθε συγκεκριμένης στιγμής.

 

•      James Joyce, Rainer Maria Rilke, William Butler Yeats, Alfred Lord Tennyson... Η αγάπη του Martyn Bates για την ποίηση είναι προφανής. Θες να μας πείς κάποιους άλλους αγαπημένους σου ποιητές ή και κάποιον που θα είχε μία θέση σε μια μελλοντική σου κυκλοφορία;

  Martyn: Νιώθω πως έχω εξαντλήσει αυτή τη σειρά μουσικών εξερευνήσεων, για το άμεσο μέλλον τουλάχιστον.

•     Την προηγούμενη δεκαετία συνεργάστηκες με διάφορους μουσικούς όπως οι Mick Harris, Alan Trench και φυσικά η Anne Clark. Τι οδηγεί στις συνεργασίες και πως αυτό επηρέασε το νέο πρόσωπο των Eyeless in Gaza;

  Martyn: Η επιθυμία για αποφυγή της μισανθρωπίας – στο παρελθόν ένιωσα την ανάγκη να βγω εκτός των συνηθισμένων μου πλαισίων. Με τη συναυλιακή επιστροφή των Eyeless In Gaza καταλαβαίνω πως αυτή η ανάγκη θα ελαττωθεί και αυτή είναι μια ευχάριστη εξέλιξη.

 

•      Τα αγαπημένα μου album των Eyeless In Gaza είναι το "caught in flux” και “drumming the beating heart”, ίσως εξαιτίας κάποιων εφηβικών αναμνήσεων. Αν έπρεπε να επιλέξετε ένα δικό σας album, ποιο θα ήταν αυτό και γιατί;

  Pete: Για μένα θα ήταν το “Rust Red September”, επειδή τότε άρχισα να νιώθω άνετα με την διαδικασία της ηχογράφησης και να καταλαβαίνω τι γίνεται. Ο John Rivers (engineer and producer of the early Eyeless in Gaza albums) ήταν καλός στο να μας ενθαρρύνει να προσπαθήσουμε για εκείνη την τυπική ποιότητα (πχ New Risen), την οποία πιστέυω πως εξισορροπήσαμε με την τάση μας για το αντισυμβατικό. Επίσης, μου αρέσουν πολύ και τα τραγούδια του δίσκου. Τελευταία βρίσκω τον εαυτό μου να ελκύεται όλο και περισσότερο από το αφηρημένο, εξασθενητικό background σε συνδυασμό με μία οργιαστική αλλά ρυθμική κιθάρα.

  Martyn: To καινούριο μας, summer salt & subway sun.

 

•      Σε μία πολύ παλιά σας συνέντευξη (1981) κατακρίνατε τη μουσική σκηνή της εποχής, λέγοντας ότι γίνεται όλο και χειρότερη και ότι δεν μπορούσατε να αντέξετε την αναβίωση της ψυχεδέλειας κτλ... Τι έχετε να πείτε τώρα που η σύγχρονη μουσική πραγματικότητα αναβιώνει την post punk / new wave σκηνή των αρχών της δεκαετίας του 80;

  Pete: Δεν ήξερα πως υπάρχει αναβίωση αυτής της σκηνής! Δε διαβάζω μουσικά έντυπα ούτε ακούω ραδιόφωνο. Δεν κατεβάζω μουσική απ΄το internet και πλέον δεν αγοράζω ούτε cd. Πραγματικά δεν μπορώ να θυμηθώ γιατί ήμουν τόσο ενάντια στην αναβίωση της ψυχεδέλειας – δεν ξέρω καν σε ποιον αναφερόμουν τότε. Φαντάζομαι πως απλά ήταν ένα σχόλιο για εκείνους που υιοθετούσαν την πιο πρόσφατη τάση της εποχής, όποια και αν ήταν αυτή.

  Martyn: Νιώθω ακόμα πως είμαι outsider, πάντα ήμουν και μάλλον πάντα θα είμαι...

 

•      Μπορείτε να υποδείξετε κάποιους από τους καλλιτέχνες ή τους δίσκους που σας έχουν επηρεάσει περισσότερο; Επίσης υπάρχουν καινούριες μπάντες που σας αρέσουν;

  Pete: Κάποια από τα πράγματα που είχαν μεγαλύτερο μουσικό αντίκτυπο σε μένα (σε χρονολογική σειρά): UK Skiffle in the 1950’s (Rock Island Line by Lonnie Donegan), The Beatles (Day Tripper, Ticket to Ride, Sergeant Pepper), Pink Floyd (Piper at the Gates of Dawn), Captain Beefheart (Trout Mask Replica), Frank Zappa (Were Only in it for the Money, Weasels Ripped My Flesh), James Brown (Sex Machine), Stevie Wonder (earlier stuff) T.Rex (My People Were Fair… Ride a White Swan) , Can (All albums!), Rory Gallagher (Taste), Big Youth (Natty Cultural Dread), Weather Report (I sing the Body Electric), Parliament & Funkadelic, Public Image κτλ –και κάπου εδώ φτάνουμε στην αρχή των Eyeless In Gaza.

  Martyn: Laura Nyro.

 

•      Μελλοντικά σχέδια για τους Eyeless In Gaza;

  Pete: Προσπαθούμε να βάλουμε μουσική μας σε ταινίες. Αν κάποιος ενδιαφέρεται μπορεί να επικοινωνήσει μέσα από το website μας (www.eyelessingaza.com).

  Martyn: Συναυλίες και κινηματογραφική μουσική. Νιώθω σαν στο σπίτι μου με τη World Serpent. Οι Eyeless θα συνεργαστούν πολύ σύντομα και με την Beta lactam ring records.

 

 

•      Παίζετε στην Αθήνα για πρώτη φορά, αν εξαιρέσουμε την εμφάνιση του Martyn Bates μαζί με την Anne Clark πριν από μερικά χρόνια. Πως είναι μια συναυλία των Eyeless In Gaza σήμερα; Είναι απλά ο Pete και ο Martyn στη σκηνή ή θα έχετε και άλλους μουσικούς μαζί; Παίζετε παλια και καινούρια τραγούδια ή επικεντρώνεστε σε κάτι πιο συγκεκριμένο;

  Martyn: Ένα μείγμα παλιών και καινούριων, το οικείο και το ανεξοικείωτο.
  
  Pete: Η βασική ιδέα είναι να επικεντρωνόμαστε στη ένταση και τα συναισθήματα που υπάρχουν στη μουσική και τους στίχους. Θα είμαι εγώ με τον Martyn με τη συνοδεία της Elisabeth S στα φωνητικά σε κάποια κομμάτια. Οι κιθάρες έχουν ισχυρότερη παρουσία από παλιότερα - αλλά περιμένετε επίσης drums, κάποιους μηχανικούς ήχους, μπάσο, πλήκτρα, κρουστά και γιουκελέλε! Ως συνήθως, μπορείτε να περιμένετε τα πάντα...

 

 

Συνέντευξη: Β. Γιαννακόπουλος, Μ. Καραγκούνη, Κ. Μπρέλλας

 

Κείμενο:  Κ. Μπρέλλας

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Piano Magic - Aποκλειστική συνέντευξη!

I came to your party dressed as a shadow...

Τους είδαμε live πριν 2 χρόνια σε μια μοναδική συναυλία με τους Legendary Pink Dots και κυκλοφόρησαν πέρυσι έναν από τους καλύτερους δίσκους της χρονιάς, το Disaffected. Oι Piano Magic επιστρέφουν μ΄ένα πανέμορφο e.p. ( "incurable") και μιλούν αποκλειστικά στο postwave.gr για τα μελλοντικά τους σχέδια, την σύγχρονη αγγλική σκηνή και δισκογραφία, την 4AD, τους Smiths και τους δικούς μας Tilbury On Cloves! 

"Music won't save you from anything but silence'" μας είχαν πει πριν καιρό και ο τραγουδιστής και ιθύνων νους του συγκροτήματος, Glen Johnson, αποδεικνύεται ομιλητικότατος This is an interview with the wonderful Piano Magic: 

 

 

 

 

• This line came to my mind while listening and trying to assess your latest LP, the "Disaffected" album: "the collectivists may have given in to the band-its, but they have not given up their Artists Rifles yet.". Your cue now...

   
  Glen Johnson: Well, the “collective” as such was never very “collected.”  That is, Piano Magic was initially a very loose project – people arriving and departing as they pleased.  But it became a “band” in the late 90’s and it’s stayed as such every since.  There is a very solid axis of Glen Johnson, Cedric Pin, Jerome Tcherneyan, Alasdair Steer and Franck Alba.  This is the host planet, if you like and the guests are mere “stars.” 

 

 

 

• In every release there is a slight concept hovering. Nothing too obvious or exact, more like an aura or a ghost (we love ghosts!). "Disaffected" as a word has two definitions, "estranged" and "discontented". Although these two meanings are quite close which of these appeals more to the album's concept?

   
  Glen Johnson: The crux of “Disaffected,” the album, can be found in the lyrics of the song, “Disaffected” : “Anything can happen in life, especially nothing, mainly nothing.  Once you know that, you’re fine.  Once you know that, you can retire.”  It’s a call to retreat from the battle of life – not to give up (as in, suicide) but to live life on your own terms and not the terms society imposes upon you – that you must get married, buy a house, get a good job, have 2.2 children, etc.  I think we all know that this is bullshit and that the happy ones are the ones who turned their back on this rather Victorian convention.  I am disaffected with the system, the rules, the expectations and from this point, I may develop a new way of living – my own way of living.

 

 

 

• To take it a step further, I've distinguished a certain connection and strange continuance between “Disaffected”,  "The Troubled Sleep" lp and the "Opencast Heart" ep, not only due to the fact that the band line-up is pretty much the same but also in terms of concept (the love-factor is screaming out loud for example), sound and artwork. Is that the case ?

   
  Glen Johnson: Themes?  Well, love has always been central to my lyrics – be it, the loss of it, the perversion of it, the absolute miracle of it, etc, etc.  It could be argued that there is love in every action – even in hate.  

 

 

 

• I hope this won't sound degrading, but the level of completeness and coherence in the latest album and single are quite extraordinary. It almost makes me miss the experimentations and the charming little flaws. At the same time, one could also regard certain elements as lookback on the previous releases and a maturity in the words as well as the sounds. The confusion days are over as we grow older? Do you still have a riven heart?
  How far apart do you feel at this moment in time from "Wrong French"?

   
  Glen Johnson: Not particularly, as an artist, as I have an outlet for the more experimental side of my music – Textile Ranch and as you will see over the next few years, this outlet may actually become the main act and Piano Magic may become a mere sideshow.  At least, that’s the way I feel right now.  With a band, you have to take into account democracy (unless you are a dictator, which I’m not).  You have to listen to the opinions of the others and make a decision based on a consensus vote.  I find this quite frustrating in truth because I always know I’m right!  Hence, my working more on solo pieces right now – I have no-one looking over my shoulder, second-guessing me. 

  There has been, unashamedly, a conscious effort to see if Piano Magic can become more melodic, more accessible to a wider audience over the past 2 years.  Perhaps we tired of being this “cult,” under-the-radar group that will never have enough to pay the rent?  Should we be ashamed that we are cutting off all the fat and getting to the real meat?

 

 

 

 

• Angele's vocal performance on "Disaffected" totally blew me off. It felt like the utmost incarnation of the title. She has a very mature, warm voice, with a jazzy feel, contrary to the very "pink" girly voices used on previous albums. Is she the current female Piano Magic expression and should we expect even more from this cooperation?

   
  Glen Johnson: Angele is, at this time, the ultimate Piano Magic singer.  She has a glacial, yet warm texture to her voice, coupled with an intimate, exact interpretation of the lyrics.  Again, for her, Piano Magic will become a sideshow in the next year or so, as she attributes more time to her solo project, Klima (an album is out on Peacefrog later this year).

   

 

 

 

• And what about the male one? One can't help but notice that you take the vocal part more and more personally in the passage of time...

   
  Glen Johnson: I’m not a confident singer but I do believe that if you can convey emotion with your voice, the technical side if irrelevant.  It’s all in convincing the audience that you mean what you say.  And I do.  Mean.  What.  I.  Say.

 

 

 

 

• Melancholy is most prominent in your work, sounds and lyrics as well... "No good Art comes from happiness."?

   
  Glen Johnson: Oh, it’s like a diary.  You only write in it when something bad is happening.  Same with music.  At least, for me.  I couldn’t write a happy song if I tried.  That’s not to say I’m a melancholy, depressed person.  Anyone who knows me will testify that I have a sparkling sense of humour and a joy for life.  ;)

 

 

 

 

• I would have to admit that the "post-modernist baroque" of "Artists' Rifles" has established its spot in that place of the heart where music that has touched you the most goes. It's quite weird actually, because when four different people were asked about their most loved PM release, they gave four completely different answers. This variety is inevitable I suppose... "smallbeat Kraftwerkian", "breathless, ethereal, multi-layered melancholy", "critically contentious", "opus maximus" should apply to different types of people as well. Looking back in time could you by any chance pick out your most loved track or release?

  
  Glen Johnson: I don’t think there’s a complete Piano Magic album but at the same time, I don’t think a perfect record has been made, with the exception of Kraftwerk’s ‘Computer World,’ perhaps.  The “essence” of Piano Magic – the perfect vehicles of the message – can be found in “I Have Moved Into The Shadow” (from the “Incurable” EP), “”Comets” (from “The Troubled Sleep Of…”) and “Bad Patient” (from “Low Birth Weight”) but that’s only my opinion and what does my opinion count?

 

 

 

 

• While we're at this looking back thing... The quotes above are other people's thoughts on your releases. What about yourself? First thing that comes to your mind... These are mine:

"Popular Mechanics" - it begins where it ends
"Low Birth Weight" - mostly pink
"Artists' Rifles" -  with weight on their shoulders
"Writers Without Homes" - a 4AD performance
"The Troubled Sleep Of Piano Magic" - an excellent debut
"Disaffected" - disaffected


Glen Johnson: "Popular Mechanics" - Thank god for naivety.
"Low Birth Weight" - On which I juggled the planets. 
"Artists' Rifles" - A smile wouldn’t kill you.
"Writers Without Homes" - Blinded by dreams.
"The Troubled Sleep Of Piano Magic" - Sleep well tonight, tomorrow we fight.
"Disaffected" - Sunshine on a rainy day.

 

 

• Still going back in time... While listening to some of your work, sometimes I feel like you've been born a decade too late because of the 80s aura in your music. Also i think that maybe the albums you put out in the late 90s, would be looked upon quite differently if their release date was in the 00s, with this whole new appreciation of new wave or folk sounds or darker atmospheres. Artistry and experimentation also seem to be a tad more welcomed by the audience, perhaps due to the abundance of bands that sound pretty much the same more or less. Have you ever felt like that yourself? Did/Do you ever wish for a wider distribution and audience?

   

  Glen Johnson: I absolutely wish for a wider audience.  As I said, the “cult” tag is, well, “nice” for a while but it doesn’t pay the rent.  I know why we have never reached the dizzy height of, say, Radiohead or Sigur Ros or Godspeed, for example – we were never actually particularly good!  That is, I don’t think we pushed things as far as they could go and certainly, we had no budget so even if we wanted to push things, we would’ve ended up making a model, as opposed to the real building. 

  I think we were dismissed quite early on, possibly down to our more “leftfield” stance in the early days.  We were looked upon as an experimental group and then a “post-rock” group and then, well, everyone just seemed to give up on trying to keep up with us.  But it certainly took us a long time (possibly too long) to get as good as we are now.  I mean, we are a really good live band, I think and we are recording the best material of our career.  It just took us so long because we were so dispersed before – this “collective” idea, perhaps.  If we’d started with the 5 people we have now, perhaps things would’ve followed a much more conventional path – signed by a large independent, playing bigger venues, etc, etc.  But I wouldn’t have changed it for the world.  The ride has been a lot of fun, personally, if not always for the audience.  ;) 

 

 

 

• Let's talk about the so called music industry for a while. Through this 10 year period of the Piano Magic existence you have changed quite a few labels and did a brief stint in 4AD. From taking a look at the news updates section one could understand that you were not very happy with the distribution and the feedback you got from the media, for the latest LP. How important are the record companies, the press and promotion in general nowdays for the indie scene? Is artistic freedom too big a price for a band to pay on the longrun? And how do you feel about the whole internet situation (p2p, myspacemusic, digital downloads)? It seems that it's quite easy for an artist, nomatter where he comes from, to have his songs heard at least...

  
  Glen Johnson: Ah, well, you’ve opened a big can of worms there.  10 years of releasing records plus 10 years of working for a record label (Rough Trade), have taught me a lot about how this big, ugly machine works and there are cogs missing all over the place; cogs that shouldn’t even be there.  I certainly am very “old school,” in that I loved being so excited about a forthcoming album by an artist that I was outside the record store on the day of release and when I got it home, I pawed over every tiny detail on the sleeve.  I do actually believe that the facelessness of downloadable music will, inevitably, provoke a return to elaborate packaging – something you can hold in your hand and fawn over.  If I had the money, for sure, I would release wonderfully, romantic music in wonderful, romantic sleeves for wonderful, romantic people. 

  As for Piano Magic, it’s one thing to work with people who believe in our music and let us release whatever we want to release but unfortunately, this is an incredibly naïve and soul-destroying attitude.  Primarily, you should be looking for a label that will account to you truthfully every 6 months and pay you every 6 months, that is able to distribute your records far and wide in reasonable quantities and that will do it’s utmost to promote your records.  We’ve been let down a lot and I’m angry about those labels and I’m as angry about our naivety – that we trusted those labels.  Our music is our baby and when it’s not looked after by the babysitter, it dies.  Of course, there are labels that have helped us up onto a podium I would never have believed we could reach and to those labels, I’m indebted.  I just wish that I could make this music and afford to exist just by making this music.  I fear that will never happen.

 

 

 

• The feeling one gets from Britain mostly is a never ending quench for new-comers, debutants that rock your socks off, next-big-things. Post-punk and new wave have been reincarnated and things seemed to be getting punkier and punkier... It must seem rather funny! Has any of these bands caught your attention though?

   
  Glen Johnson: Oh, they catch your attention if you read the magazines or watch tv or listen to the radio but as for buying their records, no, I don’t.  In fact, I’d say that 95% of the music I listen to comes from outside of Britain.  That’s just the way it is.  Hype, for anything, music, films, people, will just turn me away from them.  I like the Greek band, Tilbury On Cloves.  Someone should give them a chance, help them up onto a podium. 

 

 

• Typical question: what do you listen to nowdays? I suppose you must have quite a record collection... How much music do get the chance to listen to and obtain nowadays? Most cherised items of your collection? Most rare item?
  Generally speaking, all-time favourite records and inspirational artists or bands?

  
  Glen Johnson: I just purged my record collection of excess crap so I’m down to records-that-I-will-play-more-than-once.  I don’t actually buy much music anymore, thanks to a couple of people who burn copies for me (yes, it’s shocking, I know) but, I like (what have I got in front of me?) :
  
  Sinner DC
  Arvo Part
  Marsen Jules
  The Doors
  Akira Rabelais
  Plinth
  Johann Johannsson
  Manyfingers
  Klima
  Team LG
  Cindytalk
  Helios
  Pan American
  The Gentlemen Losers
  Max Richter
  The Monroe Transfer
  Matinee Orchestra
  Spinform
  
  That’s my recent playlist anyway. Cherished items? Oh, my Durutti Column, Felt, Dead Can Dance, Go-Betweens collections.  Favourite records?  Kraftwerk : Computer World.  Velvet Underground : VU.  The Smiths : Meat Is Murder.  A few more besides.  Biggest inspirations?  All of those bands I’ve mentioned here, though The Smiths probably hold the biggest place in my heart, even now.

 

 

 

• In the studio... Piano Magic is always a fleeting, collecting band. As for the lyrics part, that has been yours with a hand full of (long gone) exceptions. With your current line-up, how do you work on the music and to what extent the other members influence and contribute to the musical result?

   
  Glen Johnson: We generally start with a guitar line by myself or Franck these days and then we lay the lyrics over the top.  All else is built around that.  Essentially, a song is only a good song if it can be played with an acoustic guitar, right?  Well, no, but it helps to have that foundation, I find.  It’s the backbone for all the flesh of drums, keyboards, etc.  As I said, Piano Magic is pretty democratic, though I tend to “conduct” the direction of a piece, as I have the loudest voice, I’m the oldest and well, I started this thing.

 

 

• After "Incurable" what more is planned for the future? How soon whould we expect a new release from Piano Magic? What about those lost, still unreleased songs and versions, any chance of putting them out?

   
  Glen Johnson: “Lost?”  Are they lost?  They’re just in hiding.  I’m sure there’ll be a ‘Seasonally Affective Part 2” someday but it’s a far, distant horizon.  We start work on a new Piano Magic album next week in fact but the plan is not to finish it until September, so it won’t be out until early 2007.  In the meantime, there are albums to look forward to by Klima, Textile Ranch and Future Conditional (my project with Cedric from Piano Magic).  We’re certainly not sitting here doing nothing.  ;)

 

 

 

• I know that the latest gig that was planned for Athens got cancelled on you and that it was a bit frustrating. Still I hope and look forward to another lovely yet breathtaking  live performance asap! Thank you very much.

 
Glen Johnson: Well, we’d love to come back to Greece any time when the promoters and bookers sort it out.  We were really disappointed when the last shows fell through because the Athens show had been such fun.  But, we’re patient people. 

Thanks and take care. 

Glen Johnson

Piano Magic

 

 

Interview by Maria Karagkouni
July 2006
Copyright postwave.gr - Do not republish without permission

• Read more about Piano Magic - Aποκλειστική συνέντευξη!

The Raveonettes - interview 2005

• Read more about The Raveonettes - interview 2005

Peter Ulrich - interview 2005

• Read more about Peter Ulrich - interview 2005

In The Nursery - interview 2005

"All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. " (J.C.)

•  Since Nigel himself, has had experience with interviews like these, from both sides, let's hope that he will be kind with this first question and the whole interview as well.. So, why "In The Nursery"?
  
  Klive: The name is a phrase from a book, maybe even from an Enid Blyton Childrens book - not exactly sure. But when we were confronted with our first live performance, there was some necessity to find a name for our band, to put on the poster. At the time we wrote a lot of lyrics on childhood themes - innocence, autism and conditioning.The phrase 'in the nursery' seemed to fit well with the general ethos of the band, including the artwork and imagery we were using. It's one of those things, that after the first concert...the name 'stuck'

 

•  I have had a reverse progress with the ITN works, therefore I have to admit I was a bit shocked while listening to "Twins", an early album of yours.. Going back to those formative years of the early 80s, what can you recall from that time? How did it all begin? Is it a constant search of identity, that when you find it, you immediately feel "at home"? Or maybe it's all about music, just playing, creating with no specific purpose? Is there actually a purpose at that time beyond getting people to listen to you? Can you think of an actual moment that you thought: "This is In the Nursery!"?
  
  Klive: We have always made music for our own personal enjoyment. If it feels good, we do it. Music is my channel for self expression - I studied Fine Art at College and after 4 years had decided that music was the means for expressing my ideas into reality. Sometimes a certain project or commission can detract from the original intentions, but it is always refreshing, challenging to undertake new ventures, thereby learning more about the music making process and techniques and then applying what is learnt on a more personal level.
  
  Nigel: I can see how new listeners may be bemused by ITN's formative years and early recording - but for those that have followed our music through the years there is a definite natural progression. Each album would not have been possible without what went before.

 

•  Your home basis is still in Sheffield. How are things in the Sheffield area nowadays? Can it still provide you with enough inspiration? Is there any musical movement happening? Would you consider moving to another territory?
  
  Klive: I'm happy living in Sheffield, but I'm also happy to travel - the band makes that possible. Every time i read a local fanzine and there are more than two prominent bands with records out Sheffield has a new movement. It's the journalists way of formatting news. The Sheffield scene is still very active, I don't get to see a lot of it personally - but a local journalist called Martin Lilleker is just about to publish his second book on the history of Sheffield bands. This one is called "Better Than Work" and charts the period from 1976 - 1984. ITN receives a whole chapter in the unfolding story.
  
  Nigel: I've always felt that we could create the same music in any location but have never put that theory to the test. Sheffield works well for us even though we don't interact that much with other bands and artists in the area.
   

 

•  I think that you're probably sick of this question but one just has to ask: What kind of twins are the Humberstone brothers? Is there any special communication between the two of you and does that influence the creative process? Haven't you ever thought of making up a nice story to give in reply to this question?
  
  Nigel: We're identical twins - some people can tell us apart, others who've not know us long find it harder. We're not telepathic, we just have similar tastes and interests - which is probably why we've continued working together for so long.
   

 

•  I have read that you have had no real training in music...That strikes me as quite weird since one could find obvious classical influences in your music. I guess that it actually came from the heart then? (exactly how it should, really!)
  
  Klive: You seem to have answered your own question there. I don't think anyone has to be classically trained to 'understand' and be moved by orchestral music. We both don't read music - and started out by learning the very basics on guitar to emulate bands like Joy Division.
  It's always good to take on board new influences - and going to see live orchestra's perform in the early eighties had a strong effect on our sound. We had formed the band using only a marching snare drum as percussion. We added orchestral bass drums to the line-up and then tympanis after witnessing a live orchestra perform with them.
  
  Nigel: I believe that ITN's distinct style is a direct result of the fact the can neither read or write music. We approach music in a different way, not influenced by musical theory or rules.



 

•  And then there is the ghost of Ian Curtis and Joy Division. It's remarkable how many artists this has touched, and how varied they are.
  
  Nigel: Joy Division have a special place in the early history of ITN - something that we've never denied and I think they still do. You can't help but feel emotion for their work.
   

 

•  What other influences have you had and still have?
  
  Klive: Jean Cocteau touches and inspires for so many reasons. The artist Joseph Beuys for the very reason that 'anyone can 'be' an artist'. Both artists inspire on varying levels.

   

 

 

•  And what kind of music do you listen to nowadays? Could you name something that has stroke you as exceptional?
  
  Klive: I still like to listen to music as much as possible. A trusty iPod and iShuffle make that a daily occurence. At the moment i am sparring Nick Cave with Neil Young, whilst interjecting some Neil Finn for a bit of levity. Next week it will be Diamond Dogs/David Bowie versus Magazine. I am enjoying 'Abattoir Blues' by Nick Cave & the Bad Seeds more and more as i listen to it.
  
  Nigel: The Aloof have always been one of those bands that I always refer back to, but also bands like Talk Talk and Lamb.
   

 

•  Percussion and drums are so related to your music, a very striking characteristic of yours, playing a very leading role as opposed to the usual background place. And have a strongest presence on stage as well. What has drawn you to these instruments and on the long run their sound? Has, eventually, the fetish turned to a worship?
  
  Klive: Not worship - although on our last European tour we were once labelled in a magazine as 'The Gods of the Bombastic", which we kind of liked.
  From the very inception of the band we were adamant that there wouldn't be space for a conventional drum kit in our sound. I believe I've answered the reasons why we chose these particular instruments in a previous question,
   

 

•  In The Nursery are one of those artists that are blessed with fanatic audiences (almost followers) but could also easily be blamed for a certain stagnancy and non-development in sound. With your 25-year presence in the musical industry and such a strong a characteristic sound, would you agree with this opinion? Are the musical trends of any concern to you? Do you make an effort to incorporate elements of those to your sound? How easy is it to do
  that without messing up with one's character? Or maybe you treat ITN as your cult nowadays?
  
  Nigel: We've never attempted to associate ourselves with musical trends or fashions and have therefore never felt affiliated to any particular movement. That journalists have labeled ITN as 'industrial', 'neo-classical' or whatever is nothing to do with us. We continue to make our own form of music without compromise.
  We do, however, feel eternally grateful to our audience who come from alternative and independent musical sub-cultures throughout the world.
   

 

•  I understand that as perfectionists you are big fans of the digital sound (even though certain early home-made effects you have created were quite charming) .What kind of technology do you use in studio?
  Do you still experiment with new stuff or have you settled on what suits ITN the most? Your top-5 of essentials/favorites?
  
  Klive: We are constantly experimenting with sound and different ways of composition. It's good to mix up the creative process - input sounds digitally and via analogue means, but record in the digital domain.
  
  Nigel: Top 5 essentials - Logic Pro 7, Apple Mac computers, Electro Harmonix Big Muff, Yamaha WX7 & HTS 200 marching snare drum.
   

 

•  What is more fulfilling : the creation of a new sound/loop or sample or going back to your "library" and finding old forgotten ones and reprising them, bringing them back to life?
  
  Nigel: Both methods are equally rewarding and valid ways of being creatively inspired.

    

 

 

•  On your web-site there is a n extensive "back catalogue" of live performances as well, from your early gigs in Sheffield with bands like Artery or Death in June till the latest Praxis Tour. Does it consist of every single one of them? Do you treat your concerts with a certain degree of respect, as single momentary creations? With regards to your up-coming live appearance here in Elfentanz festival, could you give us a brief description of what should we expect to see on stage?
  
  Klive: Playing in Athens at this years Elfentanz Festival will certainly be memorable for us. It has been a long time dream to perform in Greece.Our live shows are a culmination of many aspects of ITN - a cherry pick of the most upbeat songs from the ITN catalogue, a full onslaught of orchestral percussion, sultry vocals and electronica. We normally perform songs that stretch right across the history of the band. Songs like 'Mystery' (which is now over 24 years old) still get performed. As well as the band, we have talented sound engineer and lighting technician, both will be travelling with us to the show in Athens

   

 

 

•  In the Nursery are the Humberstone brothers. Dolores (and Q while still there), even though credited in every album, in my mind (and generally) I guess, are not considered ITN.
  
  Nigel: Q has not recorded with ITN since 1993 and has not performed live since 2000. We now have a new drummer David Clarkson who will be performing with us in Greece. ITN is essentially the twins, with Dolores & David providing studio and live work as and when needed.

 
•  Nevertheless, one can actually notice a turn to a more "band" form in the latest couple of albums. This, combined with your optical music series, could be considered as a division to your original vision: the songs (ITN) as opposed to the music (Optical). Also the more dance-oriented Les Jumeaux have been silent for quite a while. What is happening to In the Nursery lately? Is there such actual development (" friction, collision, exploration & reflection") taking place? What does the future hold for its listeners? Do you have any work in progress at the moment? I would love to see to some new concept work following.
  
  Nigel: Since starting the Optical Music Series we've attempted to alternate album projects between soundtrack and studio releases - so ITN is still very active. To be honest there has not been the time to work on a third Les Jumeaux album. Having finished the recent long term project 'Electric Edwardians' we are now starting work on the next ITN studio album - and yes there will be a concept but we're not sure what just yet! It will undoubtedly make itself clear.
   

 

•  In addition to this, I'd also like to pinpoint a certain change of artwork style in the last two albums...from retro and poetic to more modern (abstract or minimal).
  
  Nigel: Things change.

   

 

 

• Speaking of Dolores Marguerite..she's the woman behind a great percentage of ITN lyrics and vocals. A charming woman, talented, dynamic and easy to fall in love with, I guess. I understand that you've been friends for quite a long time, that she leads another completely different life apart from ITN (full-time job and a family) and that you work together in brief sessions, recording and performing. This long-distance thing, as a result, works for or against the music? Do think that the different stimuli enhance creativity?
  
  Klive: Well it has worked well in the past and continues to do so. I guess
  we should get Dolores to add something herself, but unfortunately she
  is in China at the moment - that's the way it works....multi-lingual
  and multi-global.

    

 

 

•  When I first got in touch with ITN, I used to love listening to songs first thing in the morning, finding that it cleared up my head and provided a nice transition to reality. Maybe you would find this question weird, but I was wondering...Have you ever thought of what someone could be doing, what sort of activities could he be or not be engaged into (effect), while listening to an In The Nursery album (cause) ?
  
  Klive: We know all too well the wide spectrum of uses for our music. From the more general presence on film trailers and commercials to the more intimate moments at weddings and funerals. Moments sat in a tranquil bar in a far off land to the crunching beats of a nightclub sound system. Times when nothing else can drag you from the depths of despair to music therapy groups. Music touches us all on such a personal level - it's a constant, daily companion and to have have our music chosen is
  a great honour.
  
  Nigel: It's be fascinating and humbling to receive correspondence from individuals who are creatively inspired by our music - to have that beneficial effect is amazing.

 
•  Please leave us with your Favorite In The Nursery moment..a piece of work that each of you love the most...And with some final words, as beautiful as those that you leave us with in each album...
  
  Nigel: With now nearly 400 recorded works it's very difficult to pick just one piece - but if pushed I'd be content to lie back and be overtaken by the sounds of The Golden Journey..

 

    Interview by Maria Karagkouni
March 2005 

• Read more about In The Nursery - interview 2005

Endraum - interview 2004

•  "denn ich bin der wanderer
  der kein ziel hat
  und streift durch das meer
  dieser zeit"
  A wanderer with no purpose in the sea of time.. untouchable, quite much like a ghost. Wanderers in life and in music.. What is the purpose of this journey in the sea of music and sounds?
  
  Endraum: You can see and understand our music as an never ending search. A search for real moments. A search for dreams become reality. A search for making visions become real. Our music is floating, it is like the attempt to be on a wave that brings us forward, without going under. Maybe a wish.
  
  
   
•  Your latest release “traumstaub” was very eagerly expected. The main reason was that for the first time you would use real instruments. What was the reason for this choice at this particular point in time and after more than 10 years of creating music? How much do you feel the Endraum sound has changed compared to “zeitenlicht” of the early 90's for example?
  
  Endraum: "traumstaub" is a story which tries to fix moments between the dream and the still existing reality.
  It is the wish to hold on to something which is not seizable in reality. It is kind of an expression of despair and frustration about the rapidity in beautiful moments that can’t stay any longer for the future.
  But "traumstaub" is also the look back to our past, the past of endraum.
  "traumstaub" has to be understood as a contrast between dream and reality which is also a further part of our history.
  A phase in which dust become dream and dreams become dust ... one of the most important central themes on all of endraum releases. It is a deep inner view to make visions become real, to find a way of two individuals to make them real, existing.
  Also a very important thing is that we made „a step back“ into our past. "Traumstaub'' has also to be understood as a journey betwen our past and the near future.
  
  
   
•  “Traumstaub” is another journey into the vast empire of Fantastica... the place where dreams become reality and reality exists in dreams… What tempted you to make an almost concept-album based on the dream? ”in traumstaub gehullt..im inneren leicht..” In your own words, an attempt to connect dreams and reality, to hold on to the elusive moments and the past. How important is it to keep in touch with our dreams? Is there a risk of confusing them with real life? Can we survive without them? Michael Ende spoke of a dream-eater…
  
  Endraum: The confrontation of dream and reality is a never ending theme of endraum. Dreaming could mean to look for a better way of life. In dreams mostly everything seems easy. But the dream is not an escape from the reality. It is one of the most important things in life. It is the real side of your wishes. But in the “dreamworld” everything could be possible. And so it is the most important thing to live your dreams like reality. It means not to accept borders, to let melancholic things free, to live in a positive way with depressions, to accept the dark sides and to make them a real part of life.
  
  
   
•  Throughout your lyrics one can't help but notice a certain persistence with words ( words that have changed a bit from one record to another), words like lightness, quietness and stillness.. the shadows, the sea and the night. .the mirror,the dream.. the skin, the hand.. irgendswann.. Do you treat words as colours that enable you to paint your pictures and depict your emotions?
  
  Endraum: It is the inner world of Hovi, how he expresses himself and how he explains things. There is now the question of a „why“ or „what“... The most important thing is that it works, that his words are working.
  It is a language which is able to reflect the moods of endraum.
  Words are chosen like a music instrument, playing with moments, capturing in the same way like music is capturing our impressions.
  The world of language is nearly the same world of endraum's music: to make visions become reality. But also important is for the chosen words never be so clear, so that there will be enough space for fantasy. The power of unspoken things.
  It is hard to say that there is some kind of foreign inspiration. I would say that the inspiration comes with the unit of endraum. Of course there were and are big poets in literature ... but this is the past. The future is endraum and equal to that is poetry.
  There is also the thinking into colours. We have chosen the colour blue. It means for endraum a colour in which we are able to create, in which we are able to go further. Blue stands for „increase“, for „development“. Blue is something in front of „nearly open“.
  Blue is the only colour with light but without dazzle and it doesn’t make you blind. For us the colour blue stands for „infinity“. It isn’t black or white. It is something between sadness and happiness.
  
  
   
•  The content of the lyrics is very poetic and atmospheric. Romance, melancholy and lyricism are dominant. Apart from that, I see it as quite surreal from time to time (especially in your last two albums).Songs like “just one kiss” are pure paintings. Are there any influences, from literature and poetry, in your lyric-writing? Is there a particular poem maybe that you would like to disguise in music?
  
  Endraum: Of course, the first poem we had realized was in 1990 from Heinrich Heine's “fantastisch zwecklos”. But in general there is no real influence of modern poetry. I think we have realized our very own language of spoken words and music. The same has to be seen in the paintings.
  Our first step in 1990 was to ged rid of clichees, of real dark thoughts. So we tried to concentrate on our very individual desire, to create something very different from all the rest. You have to understand and to see the work of endraum like a three-dimentional picture, in which its main work consists of creating a landscape of atmospheres and pictures of sounds.
  The lyric catches one moment, explains it, makes it real, nearly touchable. The painting catches one thought and makes it visible. Endraum is like a vision in which the spoken word, the music and the picture has to be seen as a parallel working space. (my english is so bad – sorry)
  In most cases Hovi is starting to create a picture before the music is starting. We talk in first about the general idea of an album and then he finishes the picture so that there is some kind of „general orientation“ how the vision and how the music has to be ruled in a special way.
  
  
   
•  On "an yvon million" from your last album, you appear to have fallen in love with your dream… Not the usual lovesong. What does “an yvon million” stand for?
  
  Endraum: So this is a very dark moment in our life. Yvon million was a very good friend of ours, but he decided to commit suicide and he left his only daughter alone ... At that moment we woke up and we realized that death and life are very close together. And the worst thing someone can do is to hide his real ambitions and feelings. “an yvon million” is a song about about the work with yourself. The work how to express yourself and the work to catch moments and let them stay in your mind.
  
  
   
•  Also there is a beautiful instrumental in "herzklang spiegelt am strassenrand". "goyatlay".. mesmerizing and whirling, with all the different sounds coming in on top of one another. What is the secret of "goyathlay"?
  
  Endraum: "I was warmed by the sun, rocked by the winds and sheltered by the trees as other Indian babies. I was living peaceably when people began to speak bad of me. Now I can eat well, sleep well and be glad. I can go everywhere with a good feeling ..."
  This song is dedicated to one of the famous indian leaders: Geronimo.
  
  
   
•  The cover artwork by Hovi is very special and imaginative. Is it an artpiece following the process of creating the songs or is it made for the album? Are there any artists in particular or trends in general which he appreciates and draws inspiration from?
  
  Endraum: The inspiration for this special artwork is the fixed sensation, a single picture in the „dream-dust“ (traumstaub) that was created one evening, just on the way to our work. It is a snapshot between the creation and the vision of „traumstaub“.
  It also tries to symbolize the attempt to catch very short moments of our past, present and future.
  It is also the idea to create a picture which is able to keep the shortness of just one moment, making it unforgettable, making it real.
  
  
   
•  In the videos you have made for some songs there is a certain stillness and unclearness. More like a series of stills rather than moving pictures. If you could have any director, living or dead, to make a video for you, who would it be?
  
  Endraum: One of the famous directors in film history is Andrei Tarkowski. A russian man. He gives endraum a lot of impressions how to work with silence, no movement and very deep thoughts. He is able to let the picture move without moving. He is able to tell a plot without words and all his films are full of silence.
  
  
   
•  Songs like “god's bow work with pale blue the silence” and “ein letztes mal” with the female back vocals, are beautiful. Is there room for more female voices in the endraum sound or do you feel that it doesn't fit to it?
  
  Endraum: In our work there could be a lot of space for different musicians. On "traumstaub' we have chosen only good friends and people who are very close to us. We worked with our polish friends from “god’s bow”. It was a pleasure to have them on our album, like it is to have good friends in life. But normally we do not think about involving different musicians or guests on our recordings. This is more spontaneous. So we let the time pass and then we make the decision how to work with other people.
  
  
   
•  You consider Joy Division one of your greater influences .Would you ever do a cover-version of their song?
  
  Endraum: The intensity of joy division and their touching music is the real influence for us. But in general it is the force and the power how joy division are building up there suspence. But they also have something very soft and destroyable. Things which are very rare to find in times like today. We already have done a very own version of „blue monday“. The first and maybe the last real touch of endraum to an unbelievable group.
  
  
   
•  What kind of music are you listening at the moment? Any favourite bands or artists?
  
  Endraum: We are boys of the so called „old school“. We are very close with our feelings to the so called „post punk“. Our main influence could be find in the music of joy division, and, for example, in the music of Weimar Gesang. It can be found in classical periods and it can be found in the modern world.
  Today's music to understand and to accept is not easy, because „it is easy“ to make music.
  I would say for the moment we are very touched by the music of mathieu bogaerts, yann tiersen, coralie clement, juliet greco, ...
  
  
  
   
•  You’re about to play here in Athens with one of the most influential bands of the avant-guarde scene, Tuxedo Moon. What do you think of them?
  
  Endraum: To play together with TuxedoMoon is like a step back into our past. A beautifull vision.
  
  
   
•  Throughout your albums, you appear very distant, introverted and sober. How important is performing live and communicating with the people then? What can we expect to get and feel while watching Endraum performing live?
  
  Endraum: We will present for the first time our full length movie called “nachtblende”.
  The idea of this movie (film) is to make our vision real, to show how things could be in the world of endraum, how situation can be fixed for a moment, to explain what the colour “blue” could mean. But it is only an “attempt”.
  
  
   
• " jetzt hier nah ... im mondhaus im wind ... weisgeronnen im schnee ...
  mein blick glanzt warm nah .. die umarmung..
  Spiegel in Spiegel"
  The Mirror in the mirror effect, the dream within a dream:
  Reality reflecting in imagination and imagination in reality, creating a universe of infinite parallel instances, emerging and occurring from each other at the same time. Furthermore, the person is ambiguous and blurry in this song (and all the others actually!).. It could be you, me, everyone, but also no one at the same time. Is this theory any close to your creation?
  
  Endraum:... be carefull. This is only an interpretation. We are sorry but it is not our wish and the idea of endraum to create something like an “instruction” how to understand.
  The most important thing is “how someone feels”. To see reactions, to get feedback about emotions ... this could be a kind of “guide” into the world and the lyrics of endraum.
  
   
•  Thank you, see you in Athens!
  
  Endraum: Thank you for a very intensive interview.
  And please excuse our bad english. We have tried to do our best ...

Interview by Maria Karagkouni

October 2004

• Read more about Endraum - interview 2004

Anne Clark - interview 2004

•  Through all these years of your musical existence you have established your own unique way of expression based on spoken words accompanied by various instruments. How difficult has it been for you to remain in the music business and retain your uniqueness?
  
  A. Clark : Well – sometimes it has been very difficult for me to stay in the music “business” and on a number of occasions over the past 25 years I have stopped. Sometimes this was because I totally lost the ability to deal with the “business” and other times because I knew there were other things I wanted and needed to do. But music and language and communication are vital to me and even if I could no longer work with them in the music business they would still be a major part of whatever I chose to do. Apart from all of my decisions of course, the main reason I have managed to have a career this long is due to the loyalty of the people who buy my CDs and come to my concerts…even if sometimes I don’t always give them what they expect or want. That’s a great relationship!!!!!

•  A friend of mine once said: “The worst fear of an artist is to face the insecurity of his own emptiness and lack of inspiration”. Do you still have the same artistic flame that motivates you to write songs as you did when you first started? What do you think has changed or hasn’t changed in your creativity through the years?
  
  A. Clark : Once upon a time I would have agreed with that sentiment and at times still do. However, in connection with my previous answer, I have also realized over the years that there are many many ways we can express ourselves and when I couldn’t work in one way I would find another. My way of writing has changed (ask Jeff – he’s trying to get me to do a new album!!!). It had to. Once I felt that my anger and energy could help in some way. Now I look at the world and see how far everything has gone. I look at the madness that is leading the world and I realize that my writing makes no difference. I feel total frustration and fury at the stupidity of it all. All any of us can do, until the whole global system changes, is to do what we can in our own small worlds. In the way we treat each other. Small acts equal great kindness.

•  Speaking about uniqueness, your voice is one of the most distinctive in the music scene. Have you ever used it in projects other than your own?
  
  A. Clark : Yes, a few things. I am currently working on a project with the Belgian band Implant. Using Science Fiction texts by other writers. That’s a new, nice and different experience for me!

•  Have you ever considered or even been tempted to sing a song in your album than to recite the lyrics?
  
  A. Clark : All the time!! But I know my limitations!

•  You have collaborated with various -not to mention talented- artists: Dominic Appleton (in ‘This Sitting Room’), David Harrow (‘Changing Places’, ‘Joined Up Writing’, ‘Hopeless Cases’), John Foxx (Pressure Points), Charlie Morgan, the Norwegian Tov Ramstad, Paul Downing, Martyn Bates and Andy Bell (in ‘The Law is an Anagram of Wealth’) and many more. Which is your most memorable collaboration and why?
  
  A. Clark : Oh – they are all very special and all very different. Each for different reasons. Obviously working with Dominic and the guys on The Sitting Room was special because it was my first real recording. It was very raw – in every way.
  David Harrow and I had a special collaboration because I think we both knew that we were doing something quite unique together and the success of Sleeper In Metropolis and Our Darkness proved that.
  John Foxx and Martyn Bates were both heroes of mine so it was very special to work with them…
  But I have to say, working with Jeff Aug and the guys in the acoustic line-up is the most satisfying and special of all my collaborations. I hope we will continue to do many more projects over the years. It’s where I want to be.

•  Are there any particular artists you would like to collaborate with in the future and who would they be?
  
  A. Clark : Yes, possibly. There is a guy in Germany who goes under the name of Xabec. I’m very interested in working with him and incorporating acoustic elements too. Unfortunately Tim Buckley is no longer with us but I would have loved to do something with him. Brian Eno and David Bowie would be something too!!!

•  What’s your “relationship” with music technology? Do you get along with computers etc. or is there someone taking care of the programming in the studio?
  
  A. Clark : Ha! Ha! Me and computers!!!! Let’s not go there!! I love what they are capable of and I know what I want to achieve with them …but ……..

•  In 1998, “Just After Sunset” was released; An acoustic, folk/classical album –a collaboration with Martyn Bates featuring translations of the poetry or Rainer Maria Rilke. Later, you formed an acoustic group, re-released ‘Just After Sunset’ and toured all over Europe. We also had the fortune to attend one of your live concerts here in Athens in 2003, which had an acoustic character. Do you ever feel divided between the electronic and the acoustic approach of music or do you consider them both as two sides of the same coin? Which side, from your experience, is more appealing to audience and critics?
  
  A. Clark : This is a very interesting question (following on from the previous answer!). I have always had electronic and acoustic elements in my work. Right back at the beginning. However, with the movement of electronic music in the 80s and what David and I were doing, this obviously came to take the major role – or at least as far as the industry was concerned. In the 80s I loved what was happening with electronic music and I loved experimenting with it. However, gradually it came to get very stale and unexciting for me. Everything around seemed to be a derivative of something else and there was no longer any (or very few) fresh and exciting sounds going on. I didn’t want to get trapped in that and so moved right away into the acoustic element. I needed this for my head and my heart! Now however I am constantly discovering new and exciting areas of electronic music again and I hope in the future (as I have said above) to incorporate these with acoustic ideas.
  As for the critics and audience…well, you are never going to please all of the people all of the time! I do know however that (usually!) my audience have very big hearts and very open minds and I like them to use them!

•  Your recent collaboration with Blank and Jones showed a return to more electronic paths. How did this collaboration come about? ‘The hardest heart’ has been characterised “hard trance” (depending on its version). How do you feel about this music genre?
  
  A. Clark : Trance. Hard Trance. House. Garage. (Kitchen?!) Lounge. Goa. EBM. Techno….I don’t know! It’s all just electronic music to me!
  Basically, Blank and Jones asked me if they could re-mix , surprise surprise…Sleeper In Metropolis… but I thought it would be nice to try something new too!

•  When listening to a song do you first notice the lyrics or the music? Which of these two elements is most important for a song to be considered as a “good song”?
  
  A. Clark : Ooh! That’s difficult! There’s never a rule to that. I love lyrics and I love music. Great lyrics become music and music can become words. When they get lost in each other – that’s the best!

•  Tracks such as ‘Our Darkness’, ‘Sleeper In Metropolis’, ‘Wallies’, and ‘Virtuality’ were re-mixed and released as a compilation, the ‘Wordprocessing”. What would you consider a successful re-mix and compilation. What were the ‘ingredients’ for the successful effect of that compilation.
  
  A. Clarke : You know – by the time Wordprocessing was released, my cynicism with the music business was so strong that I saw it virtually as only a way to make money to do the projects I REALLY wanted to do! Martyn Bates and I had been working on the Rilke project “Just After Sunset” for so long and had even performed it live, getting great responses but not 1 record company wanted to know. All they wanted were endless re-mixes of Our Darkness and Sleeper etc etc… So for once in my life I made a good business decision and told them they could have a re-mix album but that I wanted enough money to make sure we could record JAS!
  What makes a good re-mix album? Something that makes you sweat!!!

•  We live in times where terrorism is probably the deadliest “disease” spreading around the world. How much do you feel affected by this every day madness when it comes to writing a song?
  
  A. Clark : Please refer to my earlier answers.
  We are now living World War 3.
  All of us.
  I have my opinions. I have my songs.
  We have mad men in control everywhere.

•  “People and politics and attitudes and you”(The Power Game [from ‘Pressure Points’]) There is a generalised criticism against political practices in some of your songs. Then “I have lost touch with the world/ where once I wasted much of my time”(Lost to the World [from ‘The Law is an Anagram of Wealth’] ). You seem to keep yourself at a distance in token of disappointment (?). Would you consider some of your songs as “political”? Would you ever write a song to openly express your criticism towards a political action?
  
  A. Clark : Again – I think the answers lie in my earlier points. This is a very complex subject. Not only do we need to be clear by what is meant by “politics” (thank you Greece!!) but you and me and the readers all have our different backgrounds and then there is a cultural divide. I think it is very difficult for me in the UK to understand what politics means for somebody in Athens as it is for somebody in Athens to understand what politics means here in Norfolk. However, I do know how all of us are f**ked over by power maniacs, money and greed and I certainly have written about that!

•  There are two songs from your album “To love and be loved” entitled “Athens” and “Acropolis”. Is there a special connection between you and Athens in some way?
  
  A. Clark : Oh yes! A very special connection. Most of the time it is disconnected unfortunately!
  My heart warms at the mention of Greece and I want to spend a lot more time travelling through your beautiful, wild and mysterious country! The islands, all the different mainland regions. I think I would really like to stay there for a lot longer time and learn.

•  ‘You create the feeling/ I contain the need/ You sustain the rhythm/ I’ll maintain the beat’. What’s the place where you feel more like “homecoming”…and inspired!
  
  A. Clark : That changes all the time…A very silent place. Probably the Scottish Highlands (or maybe Greece!!!)

•  If your songs were paintings, in which basic colours would they be?
  
  A. Clark : RED. BLUE. YELLOW!!!
  
  Thanks a lot for the interview. Hope to see you in Athens.

     Regards, Anne.  

• Read more about Anne Clark - interview 2004

Astyplaz - interview 2004

• Read more about Astyplaz - interview 2004

Das Ich - Interview 2004

Das Ich - interview

with

Bruno Kramm & Stefan Ackermann

•  Das Ich... The very name of the band is related to the theories of Freud and Nietzsche. Could Das Ich be the actual das ich ( = the I, the ego) of its members... having the music, the art as a way to harmonize the unconscious and subconscious self with every inner and outer stimulus and reality?
  
  B.K. : Yes actually you got it. We both try to put segments of our own beings into this and make it a new being. So Stefan and I, we can both find ourselves in the Das Ich world.
   

•  Going through the bios one is under the impression that the two members of Das Ich, Bruno and Stefan, come from quite different backgrounds, considering upbringing in general but also musical education. How did the two of you get together and eventually form a band? Was there actually a girl involved (..isn’t it always..)?
  
  S.A. : Yes there was girl... We visited in the late 80s the same club and Bruno an me, we met there at the dancefloor. Bruno already did some musical projects. We had a great conversation later and found out that we dated with the same girl. We dismissed her and formed Das Ich a few days later.
   

•  So, classical met punk and created something very unique and quite difficult... Industrial symphonics is one of the terms used to describe your music. In your own words?
  
  S.A. : We do not like terms too much but you can call it gothic-industrial or synphonic punk. We consider it our private aural world painting.
   

•  In all albums Bruno is credited with composing, programming and everything that has to do with the music while on the other hand Stefan does all the lyric-writing and singing. Could you tell us some things about the process that leads up to the creation of a song and on the long term of an album?
  
  B.K. : Basically we talk first about possible issues and contents of the album, then I start to write the music with my piano. After I've got tons of these basics done, I wait for a while and listen weeks later to these basics. If some track still inspires me personally and regarding our subject, I start working with my keys and synth. Then after a night I mostly have a rough demo of what the song finally will be. I give it to Stefan who starts to write some lyrics concerning the subject we have decided and gets inspired by the music.
  
  Meanwhile I have brushed up the demo and converted it to the final song. Then we start putting the vocals into the right spots and record them with different feelings. Finally I start editing and mixing the track down. We like the way of our work, it is efficient and still inspiring.
   

•  I understand that the choice of the german language in the lyrics is a conscious and deliberate one. On the one hand this adds up to the rather evocative effect and binds perfectly with the dark music and the eerie voice. But on the other hand it is kind of a hindrance for a wider audience. Do you consider using english lyrics in the future? Not just for being more popular but for really getting through to more people.
  
  S.A. : It is our mothers language and so we decided to stay with this. On our US tours we found out, that people still love our stuff without knowing what we talk about in our lyrics. Music itself is a universal language. About popularity. We can live from our music since quite 15 years, why should we change it.
   

•  About the lyrics again.. for it's a shame to be left unnoticed. They are always very dark and figurative with religious context and futuristic and psychoalalytic references. On “egodram” and “antichrist” caustic comments on the human personality and society are more obvious.. From where does Stefan draw his inspiration? Are his lyrics representative of his notions and beliefs?
  
  S.A. : I get the inspiration from the music and life. And like we montioned before, we first talk about the subjects and write down our inspiration about that. So most of the ideas come up in our first briefings.
  
  B.K. : The religious context has always been really important to us. In our western world this is one of the main issues. Many wounds in our souls came from the religion.
   

•  Let's go on stage now. Just by a look in the photo section of your site one can understand that the live-shows are quite special. Stefan is a big fan of expressionism I gather, combining his singing with an outstanding and often extreme appearance as well as a unique dancing style and even theatrical elements. Do you consider your lives more of performance art in that sense?
  
  S.A. : It is part of the concept. We do not like boring bands that perform their music like a CD player. Because of that, we've constructed these movable keystands, that everybody of the band can perform and make the liveshow something outstanding.
   

•  Stefan is actually quite into the theatre. I've read that he took part in a production of “Elektra”. I would love to see that! Any particular interest in ancient greek drama? I, myself, consider a Das Ich album to be the perfect background for such a play.
  
  S.A. : Actually I only performed in a 30 second videotape, which is part of the theatrical performance. I have no time to rehearse for theatre and it is pretty hard to learn this big books from the scratch.
  
  B.K. : I would like to do the instrumentals to Homers Ilias. It is really full of adventure and philosophy.
   

•  Talking about literature. In every album you use an extract from a poem. It was Baudleur in the last one. And then there is “morgue” directly connecting to Benn. Other influences seem to be Rimbaud, Schuler and Nietzsche. Does this depict your personal choices in literature, poetry and philosophy?
  
  B.K. : We love these writers, so we decided to pick each album one of their poems, that inspired us for our own work the most.
   

•  How does Bruno's personal project “coeur” differ from Das Ich? What is it that pushes a band member to do something of his own?
  
  B.K. : It is kind a vacation from Das Ich. It is more about my heart and positive feelings while Das Ich is negative and intellectual. Das Ich is like Nietzsche and my solo is like Schiller, to put it this way. But before that, I have done many other projects, for example "fahrenheit 451" - perhaps you know it from the German mystic sound sampler 2 - and also Alva Novalis and of course a lot of productions and remixes for other people. So my solos are a natural addition since a long time. It also inspires me for new Das Ich tracks.
   

•  Could you describe your studio for us? Danse macabre.. a gothic castle filled with hi-tech equipment? Why did you eventually stop managing it? I’ve noticed Bruno’s name in a weisser herbst production also. What is your connection with that studio??
  
  B.K. : It is my playground with 3 recording boots, more than 96 real channels. Tons of old and new synths and great outboard equipment. With my grand piano and everything what I collected since 85. And of course everybody can rent it. I have special rates for bands from greece ;-)
   

•  Some more personal questions maybe? Apart from Das Ich, Stefan’s acting and Bruno’s work as a producer, do you have any ot her professions? How would you describe your everyday lives? Do you spend time together outside the studio? Any girls in your lives? Is creating a family important for you? Could you please tell me which hairdye Bruno uses lately?
  
  S.A. : We are both married and live in a beautiful forest in the upper franconian woods. We take a lot of time for our families and enjoy live. And we meet all days, we are best friends. Bruno and his mom bought the castle quite 8 years ago and it is a wonderful creative place.
  
  B.K. : It was a long dreamt dream and now it is true. It is our private art factory. And my hair color is pilabox red from directions.
  
   

• Das Ich have performed live in so many different places. Which one has left you with the fondest memories? You have toured the US quite a lot as well. How do you find the American audience different from the European one?
  
  B.K. : Strange country, which reminds me of a totalitary regime. But we met many wonderful people. Looks like they are all locked up in this jail of commerce. The best experience so far was Moscow. Wonderful warm hearted people. They made me drink too much ;-)
   

•  Bruno takes special interest in the design and maintenance of the official site. Also you often give away mixes and different versions of your songs. What is your opinion on the internet? Is it another form of communication between the artist and the fans? And in the long term is it music’s very own devil or angel??
  
  S.A. : Of course the CD burning and P2P is dangerous.
  
  B.K. : On the other hand the net is still a great opportunity for unknown bands to carry out their ideas. And it is wonderful to get with one click into an unknown world.
   

•  The last Das Ich release was “Relikt”, a best of compilation. How soon can we expect a new album from Das Ich? Have you been working on anything lately?
  
  B.K. : The new album comes out in June and is called Lava. Actually it is two albums - Lava : Glut and Lava : Asche. Most of the tracks are recorded and I am doing right now the final mixes and the cover artwork.
  
  S.A. : Like the name LAVA, the new stuff is hot.
   

•  In ‘95 Atrocity and Das Ich made a collaboration album. Some years back “Re_Laborat/Re_Animat” was released featuring mixes from major names of the dark-electro schene. In addition to this Bruno has worked with a number of other bands as producer. After all this is there any artist/band you would like to or will work with in the future?
  
  B.K. : We enjoy it right now to work only alone.
  
  S.A. : Sometimes too much collaboration can mix up your own ideas. So thank for the next 4 years.
   

•  Elfentanz festival has shown a particular interest in german artists. I would love to know your opinion on the this year’s headliner, Wolfsheim, as well Deine Lakaien, who headlined the first one, and And One, who took part in the second.. (xxmm a collaboration with Horn and Veljanov sounds nice now that I think of it…)
  
  S.A. : The singer of Wolfsheim is boring and never moves. Actually it is no underground music, it is mainstream music for people who do not like to think alot. But of course, this is needed two in our strange society.
  
  B.K. : We are great friends of Alex and Ernst from Deine Lakaien for many years. And of course Steve is also a good friend of us.
   

•  Finally, Bruno did a dj set in Athens on New Year’s Eve. What are your memories from that visit? Looking forward to coming back for a live this time? This is a list of my favorite songs: “garten eden”,”reflex”, ”aura” and “engel” (the tops) “der schrei”, “erde ruft” and of course “gottes tod” and “destillat”. All of them on your playlist maybe?
  
  B.K : It was a wonderful experience to spin on happy new years eve for such a enthousiastic crowd. Me and my wife enjoyed it so much. I am really excited to spin for this wonderful people again. And of course I'll spin some Das Ich tracks to you. I have some brandnew mixes with me.
  
  Last but not least a big thank you to Leo Skiadas, who invited me for the first time. You should be all real proud of him. He is doing an extraordinary and great job.
  
  S.A. : See you in Athens

• Read more about Das Ich - Interview 2004

Clan Of Xymox - interview 2004

An interview with Ronny Moorings 

Αγαπητοί αναγνώστες , μετά τη συναυλία τους στην Ελλάδα, παραθέτουμε την ιδιαίτερη κουβέντα μας με τον leader των Clan of Xymox, τον ιδιαίτερα προσφιλή στο ελληνικό κοινό, Ronny Moorings!  Τον υποδεχθήκαμε, και όχι μας υποδέχθηκε, στο lobby του ξενοδοχείου του, αφού ο κυριακάτικος περίπατος του στην Αθήνα τον έκανε να χάσει λίγο την αίσθηση του χρόνου…

- Ronny, πώς σου φάνηκε το live  που κάνατε χθες? Πραγματικά απολαύσαμε τα κομμάτια από το καινούριο σας album, αλλά ιδιαίτερα το γεγονός ότι ακούσαμε και τραγούδια από την πρώτη περίοδο των Clan Of Xymox.

Ronny: Ώστε σας άρεσε αλήθεια αυτό? Θα ήθελα να πω ότι η επιλογή του συγκεκριμένου συναυλιακού χώρου ήταν πολύ πετυχημένη, γιατί ένας χώρος σαν το Gagarin προσφέρει μεγάλη ελευθερία κινήσεων πάνω στη σκηνή. Στην Ελλάδα έχουμε παίξει σε μικρότερα clubs, όπως το Βug, όπου ναι μεν η ατμόσφαιρα είναι πολύ πιο ζεστή και δημιουργείται μεγαλύτερη επαφή με το κοινό, αλλά υπάρχει ο κίνδυνος λόγω έλλειψης λειτουργικού χώρου να συγκρουστείς με τα υπόλοιπα μέλη του συγκροτήματος. Αυτό όμως που θέλω να σχολιάσω σχετικά με το Gagarin, είναι κάτι που συμβαίνει πρώτη φορά στην καριέρα μου. Δεν είναι λογικό ο ηχολήπτης μας να  βρίσκεται μακριά από τη σκηνή την ώρα του live και ταυτόχρονα σε θέση τόσο κοντά στο ταβάνι, γιατί την ώρα που μιξάρει τους ήχους, είναι αδύνατον να ακούει τη μουσική! Αυτό φυσικά έχει ως επακόλουθο την αδυναμία συνεννόησης μεταξύ μας και πρόβλημα στο ηχητικό αποτέλεσμα του live. Κατά τη γνώμη μου είναι πολύ «φτηνό» από την πλευρά του ιδιοκτήτη να τοποθετεί σε τόσο άσχημη θέση την κονσόλα του ήχου δυσχεραίνοντας έτσι την εκτέλεση ενός live.

Αν εξαιρέσουμε αυτό το γεγονός, όλα πήγαν καλά. Επιλέξαμε να παίξουμε όσο το δυνατόν περισσότερα τραγούδια από το τελευταίο album “Farewell”. Όσον αφορά στην επιλογή των παλαιότερων κομματιών το playlist είναι κοινό για τις περισσότερες χώρες που επισκεπτόμαστε. Ως ένα βαθμό εξαρτάται από τη χρονική περίοδο, κατά την οποία εμφανιζόμαστε. Δεν είναι εφικτό να αλλάζω συνέχεια το tracklist, ιδιαίτερα όταν π.χ. είναι απίθανο fans από τη Λίμα  (Περού) να παρευρεθούν μελλοντικά και σε συναυλία στην Ελλάδα.

- Ποιος ήταν ο λόγος που ονομάσατε το album “Farewell”? Επιπλέον ακούγοντας το ομώνυμο κομμάτι, θα μπορούσαμε να υποθέσουμε ότι υπάρχει μια νύξη για το μέλλον των COX?

Ronny: Ποτέ δεν κατάλαβα, γιατί ο κόσμος συχνά νομίζει, ότι επιλέγοντας εγώ ένα τίτλο, υπονοώ κάτι για μένα και την καριέρα μου. Κατά κάποιο τρόπο το “Farewell” έχει μια χροιά  κυνική, γιατί το ομώνυμο κομμάτι ήταν το πρώτο που έγραψα για το δίσκο κι αν σταθούμε στα λόγια του, θεωρητικά θα μπορούσε να είναι το τελευταίο μου album, παρά τη θέλησή μου, αφού πλέον η μουσική βιομηχανία δεν ευνοεί τους μουσικούς.

Δυστυχώς η κατάσταση γίνεται ολοένα και δυσκολότερη. Ο κόσμος προτιμά να αγοράζει κινητά τηλέφωνα αντί cds και τα κοπιαρισμένα cds έχουν αντικαταστήσει τα πρωτότυπα, γιατί είναι φτηνότερα. Με αφορμή αυτή την ερώτηση θα ήθελα να τονίσω, ότι στις μέρες μας όλα τα συγκροτήματα προβληματίζονται για τις πωλήσεις τους. Όποτε, αν εσείς προτιμάτε να διασκεδάζετε με Britney Spears και Kylie Minogue, εμείς θα πουλάμε όλο και λιγότερο! H Dark Scene θα παραμείνει, μολονότι συνεχώς συρρικνώνεται.

Το όλο θέμα με τις Εταιρείες Παραγωγής και τις Εταιρίες Διανομής έχει γίνει μια διαρκής μάχη επιβίωσης, καθώς καθημερινά υπάρχει η απειλή της χρεοκοπίας. Σήμερα ο κόσμος φτιάχνει μουσική μέσω των computers, έχει την άνεση να κάνει download ολόκληρων δίσκων από το Internet μέσα σε 10 λεπτά ,ενώ από την άλλη πλευρά οι μουσικοί πασχίζουν 2-3 χρόνια να φτιάξουν ένα δίσκο. Άρα τελικά ποιο είναι το νόημα?

- Και τώρα μια ερώτηση που συνηθίζουμε να κάνουμε και σ’ άλλους συναδέλφους σου: Πιστεύεις ότι σήμερα με τη βοήθεια της τεχνολογίας μπορεί οποιοσδήποτε να συνθέσει μουσική, χωρίς απαραίτητα να διαθέτει μουσικό ταλέντο?

Ronny: Το αν κάποιος έχει ταλέντο όμως, δεν εξαρτάται πάντα από την οπτική γωνία που το βλέπει ο θεατής? Εννοώ, ότι είναι προσωπική υπόθεση του καθενός να αποφασίσει, αν κατά τη γνώμη του ο καλλιτέχνης είναι ταλαντούχος ή όχι. Σαφώς η τεχνολογία βοηθάει και είναι ωραίο, που μέσω των computers και των προγραμμάτων υλοποιούνται οι μουσικές ιδέες. Αλλά για μένα, αυτό που έχει σημασία δεν είναι τόσο το ταλέντο, όσο το προσωπικό γούστο. Γνωρίζω ανθρώπους με μουσική παιδεία, ικανούς να παίξουν άψογα ό, τι τους ζητηθεί, ανίκανους όμως να συνθέσουν ή να γράψουν στίχους. Λέγεται ότι το ταλέντο είναι 99% διαπνοή (transpiration) και 1% έμπνευση. Η αφοσίωση σε αυτό που κάνεις είναι το κλειδί της επιτυχίας και δεν συνδέεται τόσο πολύ με τη δεξιοτεχνία.

- Πώς είναι άραγε να είσαι ο Leader του συγκροτήματος? Ποιες είναι οι υποχρεώσεις που καλείσαι να αναλάβεις και πώς κατορθώνεις να διατηρείς την ισορροπία ανάμεσα στα μέλη του συγκροτήματος?

Ronny:  Μα η μόνη ισορροπία είμαι εγώ, γιατί εγώ είμαι το συγκρότημα. Κάνω τα πάντα, γράφω τους στίχους και τη μουσική, ηχογραφώ τα τραγούδια και όταν θέλω να κάνω συναυλίες, τότε φτιάχνω το συγκρότημα καλώντας φίλους μουσικούς που ζουν στο Άμστερνταμ και τους υποδεικνύω τι πρέπει να κάνουν live on stage. Όσον αφορά την ιστορία των Clan of Xymox, πάντα λειτουργούσα έτσι και θα συνεχίσω το ίδιο.

- Δεν είναι κουραστικό να πρέπει να κάνεις εσύ όλη τη δουλειά? 

Ronny:  Δεν είναι δουλειά, είναι ανάγκη. Είναι ανάγκη μου να γράφω τραγούδια και να κάνω δίσκους. Με ενδιαφέρει να γίνονται όλα με βάση αυτό που έχω σκεφτεί, επομένως δεν υπάρχει λόγος να επέμβει κανείς σ’ αυτή τη διαδικασία. Δεν θέλω καθόλου να συζητάω με άλλους τέτοια θέματα. Κι επιπλέον το στούντιό μου είναι πολύ μικρό, δεν χωράνε μέσα 2 άτομα! 

- Ποιες ήταν οι μουσικές σας επιρροές, όταν δημιουργούσατε το “Farewell”?

Ronny: Η δική μου έμπνευση. Δεν ακούω συγκροτήματα για να εμπνευστώ. Ακούω μουσική όλη την ώρα. Είμαι  D.J. !  Παίζω όλων των ειδών τις μαλακίες!!!

- Πιστεύεις ότι με την αναγνώριση που έχουν κερδίσει οι Clan of Xymox όλα αυτά τα χρόνια, είναι ευκολότερη η επιτυχία για κάθε νέο δίσκο σας που κυκλοφορεί, ανεξαρτήτως του ήχου που τον χαρακτηρίζει?   

Ronny:  Πιστεύω ότι ο ήχος του κάθε δίσκου παίζει σημαντικό ρόλο στην θετική ή αρνητική αποδοχή του από το κοινό. Ο ήχος βέβαια των Clan of Xymox είναι πλέον  αναγνωρίσιμος, παρόλο που τα άλμπουμ μεταξύ τους μπορεί να διαφέρουν. Σε κάθε δίσκο εισάγονται νέα στοιχεία, γιατί υπάρχει εξέλιξη, τα γούστα διαφοροποιούνται. Κι άλλωστε δεν έχει νόημα να μένεις ίδιος. Το θέμα είναι ότι οι fans μας παραμένουν πιστοί.

- Δεν αισθάνεσαι όμως τώρα πιο ασφαλής από παλιότερα, στο να πειραματιστείς με τα τραγούδια σου, χωρίς να φοβάσαι μήπως αυτό επηρεάσει αρνητικά την αποδοχή ενός νέου δίσκου των Clan of Xymox από το κοινό? 

Ronny:  Αυτό που έχει σημασία είναι να θέτω τους προσωπικούς μου στόχους και να προσπαθώ να τους πραγματοποιώ. Με κάθε νέο δίσκο που κάνω, επιχειρώ να ξεπεράσω τον εαυτό μου και αποφεύγω, όσο είναι εφικτό, να επαναλαμβάνομαι. Μπορεί να επιλέξω να πειραματιστώ με 1-2 τραγούδια κάθε φορά. Ας μην ξεχνάμε όμως ότι οι fans δεν έχουν φραγμούς, θα πουν τη γνώμη τους ελεύθερα και ωμά για το αν αξίζεις ή όχι. Μ’ ευχαριστεί πολύ το γεγονός ότι το τελευταίο μας άλμπουμ «Farewell» πήρε καλές κριτικές και υπήρξε θετική ανταπόκριση από το κοινό.

-Σας έχει απογοητεύσει ποτέ το κοινό στη διάρκεια της καριέρας σας ή εν ώρα Live?

Ronny:  Όχι, ποτέ.

- Αλήθεια Ronny, για ποιον ή για τι θα έφτανες «Στα Άκρα» (Into Extremes)?

Ronny: Για τον εαυτό μου. Αλλά μάλλον αναφέρεστε στο τραγούδι “Into Extremes”. Δεν μου αρέσει ιδιαίτερα να εξηγώ τα τραγούδια μου στον κόσμο. Προσωπικά βρίσκομαι στα άκρα τις περισσότερες στιγμές της ζωής μου. Όμως τα τραγούδια μου δεν αντικατοπτρίζουν τους τελευταίους 6 μήνες της ζωής μου, πριν αρχίσω να  γράφω, ούτε μιλώ συγκεκριμένα για κάτι που βίωσα σε ηλικία 8 χρονών. Δεν πρέπει να δίνεται η εντύπωση στο κοινό πως γράφω για κάτι που έχει συμβεί π.χ. τα τελευταία 2 χρόνια. Στην πραγματικότητα μπορεί να αναφερθώ σε ο, τιδήποτε, που ίσως να μην συνέβη και ποτέ! Για μένα είναι πιο σημαντικό να ακούγεται το Story ενδιαφέρον και ν’ αφορά ένα συναίσθημα ή συναισθήματα, κι όταν δέσει καλά με το τραγούδι, τότε το αποτέλεσμα είναι υπέροχο!

Υπάρχουν φορές που αναφέρομαι σε προσωπικά βιώματα. Συχνότερα αναφέρομαι σε βιώματα άλλων ανθρώπων. Τραγουδάω δηλαδή σε πρώτο πρόσωπο, ενώ στην πραγματικότητα μιλάω για κάποιον άλλο, για άτομα που γνωρίζω ότι έχουν  προβλήματα στη ζωή τους, στη σχέση τους ή σε άλλους τομείς – όλα αυτά μου δίνουν έμπνευση!

Δεν θα ήθελα να ζω σε μια μόνιμη κατάσταση «αγωνίας», μια κατάσταση που αναφέρεται στα τραγούδια μου αρκετές φορές. Δεν θα μπορούσα να λειτουργήσω.  Συναντώντας όμως κόσμο που αντιμετωπίζει τέτοια προβλήματα, σου δίνεται το έναυσμα για να σκεφτείς πάνω σ’ αυτό και να δημιουργήσεις. Έτσι αντί να  σκέφτομαι μόνο, κάνω τραγούδια. Πραγματικά πολλοί φτάνουν «στα άκρα» ανά τον κόσμο...

- Πώς αντιδράς συνήθως όταν εισπράττεις αρνητική κριτική και γιατί?

Ronny:  Γίνομαι αμυντικός, αλλά με διακριτικότητα. Πιστεύω ότι, ως μουσικός, πρέπει να αμύνομαι απέναντι στην αρνητική κριτική, γιατί διαφορετικά φαίνομαι επιρρεπής στις γνώμες των άλλων ή πως δεν έχω σαφή στόχο. Αν κάποιος δεν έχει βρει την ταυτότητά του ή δεν είναι σίγουρος ακόμα γι’ αυτό που κάνει, τότε η κριτική μπορεί να τον βοηθήσει. Στην δική μου περίπτωση όμως, κάτι τέτοιο δεν έχει λόγο ύπαρξης, γιατί το μόνο που αισθάνομαι από την πλευρά του κόσμου είναι μια απόπειρα να με αλλάξουν, να με κάνουν κάτι που δεν είμαι στην ουσία. Μόνο όταν ξέρεις έναν άνθρωπο πολύ καλά, μπορείς να τον κρίνεις σε διάφορες πτυχές της δουλειάς του. Σε αντίθετη περίπτωση, δεν είναι δυνατόν ούτε καν να προσεγγίσεις τα κίνητρά του για την επιλογή ενός ήχου ή τη δημιουργία ενός τραγουδιού.    

- Δεν ισχύει όμως και το ίδιο, όταν οι Fan σου εκφράζουν την άποψή τους για το Live σου?

Ronny: Ναι, σαφώς είναι το ίδιο και με την ίδια λογική που μπορεί να σχολιάσουν το Live σου, μπορούν να κριτικάρουν και την εμφάνισή σου, κ.ο.κ. Ως μουσικός όμως θα δώσω βαρύτητα και θα λάβω υπόψη μου απόψεις ανθρώπων που εμπιστεύομαι την κρίση τους και που έχω μαζί τους μια επαφή και μια επικοινωνία.    

- Πόσο μακριά θα έφτανες ή τι θα ήσουν διατεθειμένος να κάνεις, προκειμένου  να προωθήσεις τη μουσική σου?

Ronny: Όχι πολύ μακριά φαντάζομαι, αφού ασχολούμαι με underground πράγματα. Δεν θα έβαζα πάλι τον εαυτό μου στο λούκι του Commercial World και στο κυνήγι των μεγάλων Εταιριών, της διαφήμισης και ό, τι άλλο αυτό συνεπάγεται. Το έχω κάνει, το έχω δει, το μίσησα και αποφάσισα ποτέ ξανά!!! Έχουμε κάνει, όπως μπορεί να μην ξέρετε, 2 albums στο παρελθόν για μια μεγάλη εταιρία, την Polygram που πλέον λέγεται Universal, αλλά τώρα τα πάντα άλλαξαν, έγιναν πολύ εμπορικά. Στόχος τους είναι η πολύ έντονη προβολή στο ραδιόφωνο, στην τηλεόραση και τον τύπο, οι αμέτρητες περιοδείες! Είναι πολύ διαφορετικός ο τρόπος που γίνονται τα πράγματα στην σημερινή «βιομηχανία». Δηλαδή, αν θέλεις να κάνεις ένα album, για να το προωθήσεις, είσαι υποχρεωμένος να πηγαίνεις σε μεγάλες περιοδείες.

Είναι πολύ εκπαιδευτικό για κάθε νέο συγκρότημα να μπει σ’ αυτό το σύστημα, να δοκιμάσει. Θα σύστηνα στους νέους μουσικούς να το κάνουν για να δουν, πώς είναι, ώστε μετά να καταλάβουν τι παίζει γενικότερα έξω και να μη σε δείχνουν με το δάχτυλο σαν τον μοναδικό που δεν είναι σε μια μεγάλη δισκογραφική... Πρέπει να μιλάς με πολλούς ηλίθιους, όταν είσαι σε μια τέτοια εταιρία και να προσπαθείς να τους πείσεις γι’ αυτά που θες και ονειρεύεσαι. Να μιλάς σε άτομα που δεν έχουν την παραμικρή ιδέα τι κάνεις! Γι’ αυτούς σήμερα είσαι εσύ, αύριο είναι κάποιο άλλο συγκρότημα. Σου δίνουν 3 εβδομάδες promotion και αυτό είναι. Τέλος πάντων, ποιος νοιάζεται γι’ αυτούς? Εγώ πάντως όχι!

- Θεωρείστε αρκετά κοινωνικοί σαν συγκρότημα. Πιστεύεις ότι αυτό σας έχει κάνει καλό ή κακό?

Ronny: Είναι καλύτερο να σε λένε κοινωνικό, παρά αλαζόνα και ψώνιο, είναι η προσωπική μου άποψη. Γνωρίζω καλλιτέχνες που είναι πολύ περήφανοι για να καταδεχθούν να μιλήσουν στον κόσμο και προσωπικά το μισώ αυτό. Απεχθάνομαι τους ανθρώπους που είναι σνομπ. Για μας, είναι πάντα σημαντικό μετά από μια συναυλία να μιλάμε με τον κόσμο, να παίρνουμε feedback, αν τους άρεσε το live ή όχι. Το feedback που λαμβάνεις, σου δίνει μια κατεύθυνση για τις επόμενες live εμφανίσεις σου.

Το να παίζεις live δεν είναι μόνο σημαντικό για εμάς, αλλά και για τους fans μας. Το κοινό αγοράζει τα cd σου, μαθαίνει τη μουσική σου και τα τραγούδια σου και περιμένει με χαρά να τα ακούσει live – κι εσύ ως μουσικός βάζεις τα δυνατά σου να  είσαι πάνω στη σκηνή όσο καλύτερος γίνεται. Επομένως, αν δεν μιλήσεις με τον κόσμο, αν δεν έρθεις σε επαφή μαζί του, πώς θα καταλάβεις τι αρέσει?

Χάρη σ’αυτόν τον τρόπο συμπεριφοράς μας, γνωρίζουμε τόσα ενδιαφέροντα άτομα από διάφορες πόλεις κι έχουμε την ευκαιρία να μας ξεναγούν στην πόλη τους, να πηγαίνουμε μαγευτικές βόλτες σε μέρη που ενδεχομένως δεν θα ανακαλύπταμε ποτέ μόνοι μας, να διασκεδάζουμε. Φυσικά υπάρχει και η άλλη λύση, για όποιον δεν θέλει να λειτουργήσει κατά τέτοιο τρόπο: Μπορεί να κάτσει στο δωμάτιο του ξενοδοχείου του όλη τη μέρα, διατηρώντας το προφίλ του απλησίαστου και αλαζόνα και την επομένη να πάρει το αεροπλάνο της επιστροφής και να γυρίσει πίσω στη μίζερη ζωή του!!!

- Θεωρείς ότι η μουσική των Clan of Xymox έχει επηρεάσει τα νεώτερα μουσικά σχήματα που κινούνται στον ίδιο μουσικό χώρο?

Ronny:  Γνωρίζω πολλά συγκροτήματα που ισχυρίζονται, ότι επηρεάστηκαν από την μουσική μας και αυτό είναι θαυμάσιο. Άλλωστε όλοι επηρεάζονται από τη δισκογραφία που προϋπάρχει και υποθέτω ότι, εκείνοι, στους οποίους έχει απήχηση η μουσική των Clan of Xymox, θα επηρεάζονται με τον ένα ή τον άλλο τρόπο.

- Τί κρατάς και τί αφήνεις από τα χρόνια που έχουν περάσει?

Ronny: Δεν κρατάω τίποτα. Είμαι συλλέκτης συναισθημάτων, ακούω τις ιστορίες των ανθρώπων. Απορρίπτω πολλά πράγματα.

- Όσον αφορά στους Clan οf Xymox?

Ronny: Όχι, δεν απορρίπτω τίποτα όσον αφορά στους Clan of Xymox. Βασικά το μόνο που θα «πετούσα», είναι ο κόσμος γύρω μου. Θα προτιμούσα να ζω μόνος μου. Αυτό προσπαθώ να κάνω με τους Clan οf Xymox. Να μένω μόνος μου, να δημιουργώ ένα κουκούλι και να ζω μέσα στον δικό μου Μικρόκοσμο. Προτιμώ να προσαρμόζω την πραγματικότητα γύρω από τον Μικρόκοσμό μου (στο μέτρο του δυνατού), παρά να πρέπει να παλέψω με τον έξω διαμορφωμένο κόσμο, (κάτι που φυσιολογικά θα αναγκαζόμουν να κάνω, αν δεν ήμουν διαφορετικός). Η βασική αξία για τον άνθρωπο έγκειται στο να είσαι «Κύριος του Εαυτού σου» και να μη χρειάζεται να απολογείσαι σε κανέναν, παρά μόνο στον εαυτό σου. Έτσι, για όλες τις ενέργειες σου και τις αποφάσεις που παίρνεις, ο μόνος υπεύθυνος θα είσαι εσύ.

- Έχεις εμμονή με την εμφάνισή σου?

Ronny: Ναι!!! Όλοι δεν έχουν? Δεν έχω γνωρίσει ένα άτομο στη ζωή μου που να μην είναι...

- Θεωρείς τον εαυτό σου  “Goth Sex Symbol” ?

Ronny: (Όλο το team ξεσπάμε σε γέλια)… Δε θα το έλεγα! Όχι...

- Ξέρεις τα κορίτσια όμως έτσι σε βλέπουν...

Ronny: Αλήθεια??? (Γέλια). Και νόμιζα ότι η καμπάνα χτυπάει για τον τραγουδιστή των HIM…

- Πόσο σημαντικό ρόλο παίζει το πάθος όσον αφορά στα πράγματα που κάνουμε?

Ronny: Εξαρτάται από το τι κάνεις. Αν πάω για ψώνια στο supermarket, τότε το πάθος μου είναι σε πολύ χαμηλά επίπεδα. Αλλά για πράγματα σημαντικά, το πάθος είναι προϋπόθεση, π.χ. δεν προσπαθώ να γράψω ένα τραγούδι, αν δεν το νιώθω. Ξέρω ότι δεν θα μου βγει. Κι ακριβώς, επειδή δεν είναι εφικτό να γνωρίζω από πριν, πότε θα θελήσω να γράψω ή να συνθέσω, έχω φτιάξει το δικό μου studio, ώστε ανά πάσα στιγμή της ημέρας ή της νύχτας που έρχεται η έμπνευση, ανοίγω την πόρτα, μπαίνω μέσα και δουλεύω την ιδέα μου. Αυτό είναι μια σημαντική διαφορά, γιατί στο παρελθόν έγραφα πρώτα το album και μετά έμπαινα στο studio. 

Η σημερινή τεχνολογία βοηθάει πολύ περισσότερο, γιατί πιστεύω ότι συλλαμβάνει άμεσα τις αυθόρμητες προθέσεις: τη στιγμή ακριβώς που έχεις οίστρο, απλά ανοίγεις  τα μηχανήματα και ηχογραφείς! Ενώ στο παρελθόν δεν ήταν δυνατόν να πας στο studio, έπρεπε να το κανονίσεις και μετά να υλοποιήσεις το project σου σε διάρκεια 30 κουραστικών ημερών. Μιλάμε για διαφορετικού είδους πίεση τότε. Τώρα απλά μπαίνω κατευθείαν στο studio μου. Άλλωστε είναι πιο οικονομικό για όλους να δουλεύουν έτσι, τόσο από θέμα χρημάτων όσο και χρόνου.

- Σχετικά με το πάθος που λέγαμε...

Ronny: Ναι... για να μπορέσω να ηχογραφήσω, πρέπει πάντα να πιστεύω πολύ σε κάτι, σε ένα συναίσθημα, να έχω μια κατεύθυνση. Μου είναι εύκολο να εξωτερικεύσω αυτό το συναίσθημα, αν έχω κέφι να γράψω μουσική . Απλά παίζω με τη φωνή μου, με το κομπιούτερ μου ή με τα πλήκτρα. Και κάπου εκεί εισβάλλει ξαφνικά το πάθος: αν πετύχω τις σωστές νότες, τότε μπορεί να μείνω εκεί και για 12 συνεχείς ώρες!

- Ποιο είναι το Motto σου για τη ζωή?

Ronny: Δεν τα πιστεύω αυτά για να είμαι ειλικρινής. Δεν πιστεύω σε Logos.

- Πόσο συχνά μετανιώνεις για αποφάσεις που έχεις πάρει?

Ronny: Πάντα μετανιώνω για πράγματα, όλη την ώρα. Ο καθένας το κάνει. Έτσι κι εγώ...

- Μερικοί λένε ότι μετανιώνουν γι’ αυτά που δεν έχουν κάνει…

Ronny: Όχι, εγώ μετανιώνω για πράγματα που έχω κάνει. Όλες μας οι πράξεις στη ζωή, μας κάνουν τα άτομα που είμαστε σήμερα. Κάθε μικρή αλλαγή στην «αλυσίδα» της ζωής μας, επηρεάζει τα πάντα. Υπάρχει μια συνέχεια, από το παρελθόν μας ως τώρα. Η ζωή δεν είναι ένας μονόδρομος με δοκιμές και λάθη που επαναλαμβάνεται. Προχωράμε και μαθαίνουμε, ωριμάζουμε! Κανείς δεν μπορεί να πει με βεβαιότητα ότι υπάρχει σωστός και λάθος τρόπος.

Αλλά σίγουρα δεν βοηθάει κανένα να σκέφτεται «εύχομαι να είχα κάνει αυτό ή εκείνο». Τότε αγαπητέ, όλη σου η ζωή θα ήταν διαφορετική! Επομένως δεν θα καθόσουν εδώ να το συζητάς , γιατί θα ήσουν κάπου αλλού – ένας θεός ξέρει πού. Αυτό είναι το τρομαχτικό σχετικά με κάθε απόφαση που παίρνεις στη ζωή σου. Αναρωτιέμαι βέβαια, αξίζει να μετανιώνεις? Καλύτερα νομίζω να μην μετανιώνεις τίποτα, γιατί αλλιώς δεν θα ήσουν ό,τι έγινες μέχρι σήμερα.

- Ο κόσμος συνηθίζει να λέει για την έκβαση καταστάσεων πώς, “ό,τι κι αν συνέβη, σε τελική ανάλυση ήταν για καλό”.

Ronny: Δεν μου αρέσουν αυτές οι πεποιθήσεις. Μου θυμίζουν θρησκόληπτους ανθρώπους που πιστεύουν στη μοίρα και στο πεπρωμένο.

- Αγαπημένοι Καλλιτέχνες του RONNY σε όλο το φάσμα των τεχνών?

Ronny: Σίγουρα ο Hans Rudi Giger, ένας πολύ αυθεντικός καλλιτέχνης που σχεδίασε τη φιγούρα Alien, ο Gaudi που σχεδίασε τον περίφημο καθεδρικό στην Βαρκελώνη, ο Ισπανός σουρεαλιστής ζωγράφος Dali κι ο Egon Schiele, με τρελαίνουν οι φρικιαστικοί πίνακές του!

- Νιώθεις επιτυχημένος? Πιστεύεις ότι έχεις κερδίσει όσα ονειρεύτηκες όσον αφορά στους Clan Of Xymox?

Ronny:  Όχι. Μέχρι στιγμής βέβαια, είμαι ικανοποιημένος που μπορώ να πειραματιστώ, όπως θέλω με το συγκρότημα. Αν θελήσω να κυκλοφορήσω ένα δίσκο ή να παίξω κάπου, έχω την ευχέρεια να το κάνω. Από την πλευρά αυτή, είμαι πολύ τυχερός! Δουλεύουμε όμως σκληρά για να επιτύχουμε κάθε στόχο. Έτσι θεωρώ, ότι μας αξίζει να περνάμε όμορφα, όταν περιοδεύουμε κι έχουμε λίγο ελεύθερο χρόνο. Αυτές είναι οι μικρές μου απολαύσεις και αυτό μου αρέσει περισσότερο στις περιοδείες.

- Είναι οι mini σας διακοπές δηλαδή...

Ronny: Δεν θα τις χαρακτήριζα ως διακοπές, γιατί προσωπικά βρίσκω τις διακοπές πολύ βαρετές. Όταν είσαι τουρίστας σε μια ξένη χώρα, πας μόνο σε 5-10 ευρέως γνωστά μέρη. Δεν έχεις, όπως εμείς τώρα, γνωστούς-ντόπιους να σε πηγαίνουν σε εστιατόρια, ωραία φυσικά τοπία ή clubs, που υπό διαφορετικές συνθήκες δεν θα τα έβρισκες μόνος σου!!!

- Ποια η προσωπική σου εκτίμηση, όσον αφορά την αρχαιοελληνική Αρχιτεκτονική, με βάση ό, τι γνωρίζεις και έχεις δει από κοντά?  

Ronny: Τι να πω? Πολύς κόσμος νομίζει ότι η Ελληνική αρχιτεκτονική σταματά μόνο στην Ακρόπολη και κάποιους ναούς. Όταν κάποιος επισκεφτεί την Αμερική ή τη Ρώμη, διαπιστώνει ξεκάθαρα την Ελληνική επιρροή σε όλο της το μεγαλείο!

Επιμέλεια / Μετάφραση: Ντίμη Θεοδωράκη

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