Subject:
Different musical
genres
When
did you start to play and to be concerned in music?
Which have been the most important steps of your
"musical journey", from the beginning up today?
What do you think of music nowadays?
Which are the relationships between the different musical
genres and why do you think most of the times musicians
feel hostility against languages and types of music
different from their own style?
Do you think that this fact is "natural" and
inevitable ?
By
N.A.S.
Email: nas@dinonet.it
 29 - 05 -
1997
* Answer:
I played in the BAND for the first time in 15 years.
My first interest about music is NEW WAVE.
But the band I concern in the first time was Thrash
Metal.
Now, my musical main concern is Trance.
96 in Florence. It was just for recording our new album.
This is my first time to recording in foreign country.
From another view of the term "musical
journey", ths most important step I think is using
the technology.
The change of the musical trends are getting more faster
than before.
So If there were some good music, but they couldn't keep
themself good. However there are many good music in the
world...
I think lyrics may be important for listner to understand
the music itself more.
Moreover, intonation of the language are different from
others.
So singer singing with one language uses different
instrument from the singer uses another language.
In othre words, they use different musical instruments.
Most people are used to hear the music with English.
It makes us feel some difference. If one don't have
interest about some music, it is so good.
But it isn't needed to be hostile each other.
It is natural that people have their own taste for
everthing not only music. But we are not a critic, it
make them to think the difference between music, and we
have no concern about that.
This is all my idea about your question. But I am not
good at English well.
So I can't express my thought in the right way.
My idea above is positive.
Please take my words to be positive.
From:Tusyoshi
Tateno (VASILIS)
Email: ttateno@akira.ee.sophia.ac.jp
19 - 05 -
1997
I got my first keyboard
when I was eleven. It was a double deck electric organ,
actually, on which I tested my ability to reproduce the
sounds the Rockets played (remember those mad french
baldies?). At 16 I bought a Poly800 and a Roland
Drumatix, after tampering away at a monophonic Roland
synth for a year. I wanted to be a one man band, I was
way into Howard Jones (YESS, it was the '80s, man, and we
all dressed in a horrible way...). But reality was harsh:
all my friends were into blues, rock etc. and I ended up
playing in groups that did Santana songs and covers of
italian rock. At 19 I went to London and things changed.
I was there to study as a sound engineer: it was the
first time I viewed music as a possible career. It didn't
work, of course, but I had fun. I never found a job as a
sound engineer, but I learned many things. THIS was one
of the most important steps of my musical journey. After
a few years I met theTable, and we understood we could
probably work together. My musical tastes had changed and
especially after London I had shifted from prog rock and
psychedelia to electronic music (the first sort of
"techno" record I bought was in fact an ambient
record, the first Orb album). theTable had an alltogether
different eighties from me, they were into darker stuff
and keen on new wave. So it was interesting to see what
we could come up with, and after a couple of years of
collaboration I can say I'm very satisfied with what I've
done and what I'm doing now. This is probably what I
wanted to do when I first started out as an apprentice
sound engineer: I actually wanted to make music on a
mixing desk, and now we're doing it even live! This has
given very much to my spiritual life. I don't know about
the next important step, also because I've learned not to
wait for steps because, as Murphy would have it, they
always happen when you don't expect it.
* Answer:
Wow. Last night I engineered for a folk/ska group that
sings in the local dialect, and me and Giovanni were
quite puzzled at the general response of the public. We
think these people are crap, but we also seem to be a
minorance (it's the usual Moretti feeling...). On the
other hand I was listening to Squarepusher the other day,
I was in my car and suddenly another car alarm went off.
The mix of the two noises plus the city traffic made me
think "mmm, this music must exist because one day
someone will say 'yes, the earth has made this noise,
too'". It was a rare aesthetic moment in a sea of
commercial bad vibes. Personally I hope that the whole
musical scene will become more and more confused, because
that's what keeps it interesting. That's why I tend to
hate MTV etc. That is fake confusion, perfectly mastered
by the big sharks.
* Answer:
The funny thing is that when last night me and Giovanni
were watching this digraceful group, they actually sang a
song taking the piss out of computer users, techno
listeners etc. THEY were much more critical than us. I
work in a place where everybody listens to blues,
crossover, Henry Rollins and stuff. I seem to be able to
accept the music they put on the stereo (except those
horrible blues classics...), but when I put on my stuff
they all take the piss and tell jokes about "acid,
LSD, ecstasy" etc. I think this happens when people
try to impossibly reduce the confusion and try to
simplify their horizons. It has some characteristics on
common with religion. If you add to it that machines are
freaking people out because they fear that they will
steal their jobs etc, that is it: death to the
technochancers. But it's ok, we limit ourselves to sample
them and see if they're any useful to our tracks...:-))
Anyway it is not natural or inevitable: it is the result
of a choice. If you choose to attempt at the universe's
complexity all on your own, you will be smallminded (in a
quite literal way). If you accept diversity and choose to
consult other people about why we're here etc., you are
working on another level and the words "I don't like
this music" will transform themselves into "I
don't understand it", a much humbler statement. I
for one am ready to try and explain a bit about my music
if people don't understand.
From: The Table
(ND)
Email: abardell@tinet.ch
08 - 05 -
1997 5.32
* Answer:
I started my "jouney" became a serious matter
around 1984 when hip hop and electro blew my mind and I
started djing. After I slowly descovered the funk and
rare grooves, but then in 1996 came house (lets get
brutal dy nitro de lux, love cant turn around by farley
jackmaster funk, acid trax by phuture...)- it was
something totaly new. House had many evolutions,
changeing through the years but gradualy became stagnant.
Around 1993 -'94 I started mixing hip hop instrumentals
with slowed down techno trax, ambient and dub. A couple
of years later the press came out with the name
"trip hop" but by then I'd already moved on to
an eclectic freestyle mix that could stretch from
"intelligent" techno to Lalo Schifrin. In this
mix drum'n'bass gradualy became the main feature... thats
now... The following questions are "general"
questions:
* Answer:
Lot's of variety, lots of crap, but also awsom new stuff.
* Answer:
Music is very intimat and is always, contiously or
uncontiously associated with an enviroment. People choose
their enviroment and it becomes their cultural teritory
and their identity.
* Answer:
Some people manage to be open minded, change their
opinion and mix with other scenes. Thats how drum'n'bass
(not only) was born.
From:LIQUID
Email: lqd@leonet.it
*
Answer:
Music has always been part of my life; I began playng at
14 and soon I took part in many school bands.
Laster on, I joined more important bands, namely
"Circle" and "C.R.Y.P.T.A."
(Industrial),"RosenKreutz"and "Passion
Flowers" (Psycho-Dark) and the Kim squad & Dinah
Shore headbanger"( rock/garage ).
More recently, I formed the one-man-bands "Spectrae
Electric" and "SexVoto".
From time to time I play the guitar for the surf-garage
band "The Sentinels".
I think nowadays the different kinds of music just melt
into one another, thus I guess we can speak of big
confusion and end of borders at the same time.
As can be understood by reading the previous answer, I
myself have played so many kinds of music I can state
that a true artist should have more than one experience
and be able of expressing himself in more than one
language.
Thanking you for your attention, i send you this picture
of "SexVoto"
From: Marcello
Fraioli
Email: m.fraioli@flashnet.it
*
Answer:
Marc (who writes all music) and Tim, the drummer, have
both always done music since their childhood. Me
(Isabelle), I started rather late with singing, but I was
always influenced by music because my father and brother
are both drummers and all my boyfriends have always been
in a band, too.... Most important was meeting PANKOW end
of 1992 on our first tour with them and the collaboration
with Paolo Favati then in 1993 when we produced our debut
album TUMULTE. Since then we produced nearly all our
songs with him in Florence. Last year we additionally
started working with Daniel B. and Patrick Codenys of
FRONT 242 and finally signed on Spin Rec., a divison of
EMI in Germany. We released our current album
SEXPLOITATION CINEMA which is doing quite
well....fortunately...
* Answer:
There is a lot of crap...but also a lot of exciting and
creative things out there. Especially from people that
are open-minded. Nice to me is the sort of
"post-modern" way of bands to use existing
music/sounds for samples and to put them together in a
new context to create something completely new and
different and their "own" thing with it, e.g.
"Apollo 440" or "Daft Punk" from
France.
* Answer:
I believe it would be much more fruitful if some bands
would start to open up a bit and start seeing different
music as a challenge for themselves. It increases our own
possibilities. I try to listen more to music I usually
didn't listen to, like jazz, more classical music, even
rock music....it can add to my understanding of music and
sound and gives new impulses....we still can be a
"pop" band, though... We always tried to work
with people from other genres like Sascha from KMFDM or
Doug from "Die Warzau". They added something
special and of their own and it was still
"SABOTAGE". That's what I mean, it doesn't
necessarily have to be that someone "destroys"
your style, but they can add some different spice to it
and that's great. People have always been telling us they
would never let someone else touch their music and that
we would sound like Front 242 now and bullshit, bullshit,
bullshit. I think we have always had our very own style
and that a producer is there to bring out the best in
you. We always felt that both: Paolo Favati and the guys
of F242 had achieved this and it helped us find our own
way much more than losing it.
* Answer:
From what I wrote before, the logical answer must be: NO!
Artists could GIVE each other much more than take away
something from another. I guess this is the usual
paranoia of jealous and untalented assholes. Our world,
especially Europe, is so mixed up and multicultural and
we are influenced daily by so many things that aren't
"ours" anymore, why would we have to think in
"borderlines" when it comes to music or art??
It is anyway no "Sabotage"-style. We are always
happy to learn something newly and anyone who is
interested in a collaboration is happily invited to
contact us!
Adịs,
From:ISABELLE/SABOTAGE-Q.C.Q.C.?
Email: sabotage_qcqc@compuserve.com
*
Answer:
I's just one of the many
faces of pavlovisation.
Pavlovisation means that our brains are acting as
Pavlov's mice.
We learned to recognize some kind of sensitive
stimulation, and now we feel satisfied when we find that
kind of stimulation, and we regret the other kinds of
stimulation.
If people wouldn't have the continuous media's
sex-bombing, maybe they'ld use Missionary Position for
fucking during all their life.
From:Deadburger
Email: vnistri@dada.it
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