Wednesday, April 20, 2005
I Am Addicted To Extra Strong Mints
makusa Acher and 'a delightfully quiet and peaceful person. surrelae almost a calm and a dedication to the incredible music. one anecdote: a couple of years ago we shared a dressing room in that of heildeberg, during breaks between concerts and the other, between the sound check box changes, dinner here is ... well, you could always waiting to find markus .... usual place in front of a powerbook, with a display of open logic. Compin was new material. for that project would not know. I think it was material to the time of Lali Puna. I like to think that he saw one of the currency in which it was born a piece of faking the books .... and I love you visto quale spirito e costanza markus acher dedica alla musica. true till death!
JR: allright markus, Let's get this started with a couple of geographical notes, and I want to focus especially on your native city of Munich. I must sat that I like cities in a rather unconventional way: as trivial as it may sound, I'm not as interested in history and architecture as much as the city's own music scene. That is what I enjoy delving into, which is also a historical interest off course. Across the turn of the century Munich drew comparisons to other famous locations such as Chicago for example for the burgeoning music scene.As overblown as it may sound, I believe this comparison does the city justice in terms of the amount of artists who were involved in a number different projects, at such a high pace. In sharp contrast with that reality , I see today that whilst all the bands who grew popular are still making great music, I can't help but notice a downswing in the amount of new projects popping up.There just doesn't seem to be any new band coming up to break this trend, so I'm left wondering what happened to your music scene, what is missing now that was then ?Can you paint us a picture of the Munich scene as far as who is populating it's underground today ?does the hausmusik collective still play a role in the scheme of things?
Markus Acher: Where we originally come from is Weilheim, a small town about one hour away
from Munich. The uphon-studio is there and all the bands like Notwist,
Console,... started there. Some people (like me) then moved to munich
(because Weilheim is very boring to live in) someday, and we met more and
more people from Munich. But I don't know too much bands from munich
personally. But there is some music here, I like very much: Carl Oesterheld,
who is also playing in MSJohn Soda and TTT, makes really, really great music
between classical composition and Moondog under the name Carlo Fashion. He
also has another band called the Johnsons and he plays together with
Michaela Melian (from the great legendary and still active FSK), who made a
very beautiful record for Monika Enterprises. Christian Heiß, who plays with
us in Lali Puna, makes electronic music under the name Potmanteau. And
Florian Zimmer and Christoph, both ex- and still-Lali-Puna-members just
started a new band, that makes great music. But there is much more happening
in munich, I don't know about.
I personally think it's not so important to always make new bands. We try to
concentrate now on the ones we have and make the best with them...
Hausmusik is a distributor now, located in Munich. They distribute all our
records, for Morrmusic and alien transistor.
JR: By the way I must not forget to tell you how such a huge fan of you and your brothers I have become! so much so that if it was up to me I'd build you a monument right now!. Or no, maybe I should wait 70 more years until your music becomes even more a legend than it is now so that the stone will truly testify to its greatness. I now It sounds really silly, but the words on it would definitely read "to those who fought hard every day to give us the best music ever". On a more serious note, actually i really do think you're some kind of Wunder Bros. The amount of good bands you've been involved in is simply staggering: could you please lay out some chronology of your music career for me? I also get the impression that you've been doing this relentlessly for the better part your lives. Where does that urgency come from ?
Markus Acher: I think, it always comes from being fans of music. We really like to listen
to music, find new interesting bands and records, and share this with
others. And therefore, I like more to work together with others, than to
work alone. And we like to change.
However, I don't know...I don't know what to write...
Here is the list of bands (for Micha and me):
Notwist, village of savoonga, rayon, ogonjok, potawatomi, tied+tickled trio,
Lali Puna, MSJohn Soda, three shades of blues, 13&god
JR: You really come across as the most active guys in the city or even the country at largefor that matter. I see that you're still involved in a number of different projects and you're also involved in collaborative efforts with people from just about everywhere (Tom Shadow Animal Things...the Styrofoam album...). Can you please elaborate on that ?
I believe the most amazing thing you did is the 13+god project: we learned from the press release about you guys first got into it, but what is the actual goal that you want to achieve with that project? And how do you handle collaborations with people who are not from the same area, which carries with it a lot of extra effort ad resources. I imagine people with different backgrounds might not have the same approach as yours, so was it hard to make things happen eventually?
Markus Acher: That's also because we were big fans of the anticon-people's music, before
we met them. And when we met them, we recognized, we will be close friends,
it was, as if we already knew each other for years. Some of the nicest
people, I know. That's why decided to record something together. It was more
interest and fun, than anything else. We didn't know at all what it would
sound like in the end, and it didn't matter.
It was not hard at all. It was very easy. Everybody contributed something
and we appreciated it. It fit perfectly. That why we could finish and mix
this record in the three weeks, they were in munich.
JR: I also read about Chronomad whilst despite being Saam Schlamminger's own project, still reveals your own distinct touch . What are your thoughts on this?
Markus Acher: Saam is a good friend of ours and played on the Neongolden-record. he then
played us some recordings, he had done on his own, that we liked very much.
But he was not totally satisfied. So we only added some small things and
mixed them in our studio, and released them on our label. Saam is a very
special musician. I think his music is totally unique and new. At the moment
he is in Teheran, where he grew up, playing a concert.
JR: I learned that there's a new Lali Puna's record coming. I know it's not an album of new songs but I believe you might have something to say about
Markus Acher: Oh, I don't know... It's a compilation of b-sides, remixes by us and others
and compilation tracks. And it also has two new songs on it.
JR: I remember my visit to Munich some years ago as a tourist. Far from being your regular backpacker, I was mostly on a hunt for musical stimuli, a truly "musical" tourist (I could even write an essay about it). My memories of you are of a very kind and supportive person to me and Mr. Unhip . IT really struck me, however, to learn that you're into Jamaican music. I'm especially curious about what sounds like a rather peculiar taste to me. Does it influence your creativITY at all? You should know that, being still stuck as I am, in the old clichè of german people liking wurstels, beer-drinking songs and heavy-metal, I was quite surprised to see your extensive collection of ska reggae and dancehall stuff, so I hope you can help me dispel my preconceived notions here
Markus Acher: I like the music from Jamaica, because it has a very special way of
combining minimalistic rhythms with melancholic melodies. I learned, that
bass and drums should not only accompany the main melody, they can play
something very different on their own, something that could be song on it's
own (what they are in dubmusic). And also through dubmusic I learned that
you sometimes get more, when you take something away. But first of all it's
beautiful music.
JR: and help me get an idea of what your favourite listenings are now?
Markus Acher:
konono no.1-'kongotronics'
tarwater-'the needle was travelling'
fog-'10th avenue freakout'(lex)
why?-'sanddollars' ep
the ivytree-fatcat split 12"
arthur russell-'world of echo'
psapp-'tiger my friend'
and lots of old jazz-records
JR: Wait I think I forgot to mention yet another project of yours, namely Alien Transistor. I'm sorry to be repeating myself, but you guys are incredible for the amount of stuff that you have produced over the years, and now you even come up with a fully fledged label, which is an especially daring challenging at such a difficult time for music business. Can you elaborate on Alien Transistor's ethics and agenda? Will Notwist release the next album on your own label ?
Markus Acher: I always like to discover new small labels with new music in my favourite
recordshop. I think it's important to keep everything diverse. No monopoles.
we will release the next Notwist-record again on City-slang. but there are
enough new plans with strange music on alientransistor. In some we are also
involved musically.
JR:Finally, I couldn't keep from asking the obvious question: when is the next Notwist album coming out?. it's long awaited, and you know that a lot of kids out there need your gentle songwriting to to produce some new heartbreaking songs for us again
Markus Acher: Oh, we don't know... We will start in june, after touring with 13&god.
But it can take a while. We don # t know ...
Wednesday, April 13, 2005
Pctv 150e 55e Driver Para Win 7
change the remote viewer-let your heart draw a line-City Centre Offices
consider the remote viewer as a gift.
the first disc, the Mancunian duo, finished in my hands is the legendary 7 "" Welsh Ambrose. "Gift.
my coriusita 'for the group and' soared thanks (or blame) for that damned piece of vinyl. so 'in a roundabout way I was able to trace the contact group, and after a quick talk by e-mail asked me the address. two weeks after mailing a package to be withdrawn: in, all the albums released by the remote viewer, a gift for the sincere interest in them. That 's the explanation of what I do.
those discs have a special place in my collection. have added value. and this value is not 'the word free, but something far more' noble and tied to feelings.
rest of the remote are stories and history of feelings.
"let your heart draw a line drawn as ever, and perhaps even more ', talemente pure feelings that it becomes almost impossible to define with precision. registration to the limit of 'craft helps even more' and this dissolution of the shapes of the substance. a feeling can not 'be no form and no substance, and is just simply a feeling.
you ever managed to put into words exactly and precisely the effect it has on you a kiss, a caress, the wind on the face, the sense of loneliness. I think not. really, I do not think anyone is able to define precisely in these moments and photography.
even photography can give us the real so perfect. not 'possible.
then I pick up the new album of the remote, I look at the cover ... and away in the highlights, shadows, in the out of focus, I see the outlines of the two remote viewer and the shadow of nicole "empress" who gives voice to their feelings. all back. there is nothing definite, definite. This album, in every moment, and it 'demonstration. again Craig Tattersall and Andrew Johnson is again becoming the seplici shadows. the most 'beautiful shadows that a two-bit sampler, a guitar and a lot of uncertain rustling have never been able to draw.
consider the remote viewer as a gift.
the first disc, the Mancunian duo, finished in my hands is the legendary 7 "" Welsh Ambrose. "Gift.
my coriusita 'for the group and' soared thanks (or blame) for that damned piece of vinyl. so 'in a roundabout way I was able to trace the contact group, and after a quick talk by e-mail asked me the address. two weeks after mailing a package to be withdrawn: in, all the albums released by the remote viewer, a gift for the sincere interest in them. That 's the explanation of what I do.
those discs have a special place in my collection. have added value. and this value is not 'the word free, but something far more' noble and tied to feelings.
rest of the remote are stories and history of feelings.
"let your heart draw a line drawn as ever, and perhaps even more ', talemente pure feelings that it becomes almost impossible to define with precision. registration to the limit of 'craft helps even more' and this dissolution of the shapes of the substance. a feeling can not 'be no form and no substance, and is just simply a feeling.
you ever managed to put into words exactly and precisely the effect it has on you a kiss, a caress, the wind on the face, the sense of loneliness. I think not. really, I do not think anyone is able to define precisely in these moments and photography.
even photography can give us the real so perfect. not 'possible.
then I pick up the new album of the remote, I look at the cover ... and away in the highlights, shadows, in the out of focus, I see the outlines of the two remote viewer and the shadow of nicole "empress" who gives voice to their feelings. all back. there is nothing definite, definite. This album, in every moment, and it 'demonstration. again Craig Tattersall and Andrew Johnson is again becoming the seplici shadows. the most 'beautiful shadows that a two-bit sampler, a guitar and a lot of uncertain rustling have never been able to draw.
Happy Birthday In Egiptian
Marsen Jules Herbstlaub-city-center offices
I remember quite Juls Martin vague. can not say I know him, but had known it. I came across a couple of years, even as we happened gdm, of going to sound like that of Dortmund. the place is called cosmotopia. a very small club, very cotton club appearance, much Demode '. something on the borderline between the aforementioned cotton club, ifnluenze Middle East, the night bar from small town America to twin peaks and a small splash new age. In short, the designer had to have a beautiful mess in my head. the operator was this very tall guy with a deadly calm. presone one of the most 'peaceful history. so it seemed. an honest prick with a local bizarre hand and a rather special programming. play in a local prevede la serata reggae mi incute sempre un creto timore. ok ma torniamo ai fatti.
quella sera suonammo con i dictaphone, superlativo gruppo di cui non staro' in questa sede a dilungarmi sulla bonta della proposta. le caratteristiche del posto presero sempre di piu' il soprevvento su di noi e credo che tutti ne fummo influenzati. la performance dei dictaphone ci smollò in pieno twin peaks...io mi sono davvero guardato due o tre volte in cerca di un nano con la parlata al contrario. ed io finii a suonare due pezzi sdraiato su dei tappeti simil iraniani. gli spettatori, una 50ina di ragazzotti e ragazzotte tutti molto educati, seduti a gambe incrociate attenti al concerto come poche volte.insomma una sorta di bolla temporale. il dopo concerto fu alquanto strano, un dictaphone totally drunk that night he decided that he loved all over the world and to move it away from us that was consumed by cathering deck chairs, carpets ... like damask. the owner of the local town square 'behind the console and drive all night with a selection of our plays quite miraculous. I am always asked which was the stuff that went on plates or in the player ... then I saw who did everything with a laptop. we were immersed in liquid sounds of violins sampled and looped so talemente epic, immense romantic to say and how to knock out here ... ... from romantic romanticism, copy and paste from any Dictionary of Art Online ... "In Germany, Caspar David Friedrich (Greifswald, 1774 - Dresden, 1840) was considered a great landscape in the sense that man is to live with nature in the landscape he expresses the richness of his feelings, the loneliness of man, his anxiety about the mystery, he grasps the nature \u0026lt;>, ie the sense of dismay that a man feels at the magnitude of natura.Poiché man in romantic conception, is surrounded by nature, the landscape becomes one of the favorite themes: the landscape is not reproduced with clear objectivity, but one lived intimately by the painter. Well here
tornado with the memory of that evening, perhaps we are witnessing a very special and secret show of Marsen Jules: Juls Martin, the tall guy with curly hair, operator of cosmotopia of dortumnd. Today I find myself in mno her CD. immensely beautiful and melancholy as only the memory of that great night can 'be.
I remember quite Juls Martin vague. can not say I know him, but had known it. I came across a couple of years, even as we happened gdm, of going to sound like that of Dortmund. the place is called cosmotopia. a very small club, very cotton club appearance, much Demode '. something on the borderline between the aforementioned cotton club, ifnluenze Middle East, the night bar from small town America to twin peaks and a small splash new age. In short, the designer had to have a beautiful mess in my head. the operator was this very tall guy with a deadly calm. presone one of the most 'peaceful history. so it seemed. an honest prick with a local bizarre hand and a rather special programming. play in a local prevede la serata reggae mi incute sempre un creto timore. ok ma torniamo ai fatti.
quella sera suonammo con i dictaphone, superlativo gruppo di cui non staro' in questa sede a dilungarmi sulla bonta della proposta. le caratteristiche del posto presero sempre di piu' il soprevvento su di noi e credo che tutti ne fummo influenzati. la performance dei dictaphone ci smollò in pieno twin peaks...io mi sono davvero guardato due o tre volte in cerca di un nano con la parlata al contrario. ed io finii a suonare due pezzi sdraiato su dei tappeti simil iraniani. gli spettatori, una 50ina di ragazzotti e ragazzotte tutti molto educati, seduti a gambe incrociate attenti al concerto come poche volte.insomma una sorta di bolla temporale. il dopo concerto fu alquanto strano, un dictaphone totally drunk that night he decided that he loved all over the world and to move it away from us that was consumed by cathering deck chairs, carpets ... like damask. the owner of the local town square 'behind the console and drive all night with a selection of our plays quite miraculous. I am always asked which was the stuff that went on plates or in the player ... then I saw who did everything with a laptop. we were immersed in liquid sounds of violins sampled and looped so talemente epic, immense romantic to say and how to knock out here ... ... from romantic romanticism, copy and paste from any Dictionary of Art Online ... "In Germany, Caspar David Friedrich (Greifswald, 1774 - Dresden, 1840) was considered a great landscape in the sense that man is to live with nature in the landscape he expresses the richness of his feelings, the loneliness of man, his anxiety about the mystery, he grasps the nature \u0026lt;
tornado with the memory of that evening, perhaps we are witnessing a very special and secret show of Marsen Jules: Juls Martin, the tall guy with curly hair, operator of cosmotopia of dortumnd. Today I find myself in mno her CD. immensely beautiful and melancholy as only the memory of that great night can 'be.
Monday, April 11, 2005
Yellow Eyes, Cure, Treatment
hood outside closer-up magic-disaffected domino
if you were really honest people, at this very moment to take this computer and threw it in June 'from the window. would be the only thing to do. smash your computer and avoid writing sensational bullshit. I should learn to be more 'respectful. if the world today there is' a group that I would just like to me is the hood. I tell you, dog, pig.
but not 'so'.....
the truth 'and' I want everyone to listen to the hood. 'cause that would make the world more' beautiful, or cmq a better place. I swear. would really be better for everyone.
what about this new record ... .... maybe that is short, there are at least 15 pieces (the album has far fewer pieces ... but who cares) that undoubtedly try to lie down to the mat. you know those songs that take you directly to hurl your head against a wall. do not know? ok, obviously you have never listened to the hood.
I listen to them very often.
example .... every time you download or driven by a girl listening to "the cycle of days and seasons ".... makes me feel even worse ... and it 's just amazing. nothing but get drunk and forget. I do not give anything to forget ... that record unanesthetized amplifies the sorrow ... ... and every time when I read 'hood is finished "I'm in pain ... as if he had not done cmq other albums ... I tend to worry about one thing and then denied the facts ...
of cold house said they were all poor ... many words ... the only person who has written two interesting lines and 'was Simon Reynolds ... "For Hood, Life's a glitch, and then you cry."
outside closer .. I believe that no one has yet written words one word that does justice to this album .... and then take the computer ... I open the Finistra and launch the most 'far as possible ... but' a moment .... maybe they gave them ... "We wanted it to jump out of the speakers" Explains Richard Adams "and to make it Emotionally draining. Anti-indie/tronic. Big Rather Than small. Not background music. Not Necessarily 'Nice'. "
make matters worse for the umpteenth time they ask" Where Is the Love ?"... We had
ok, I support the computer ... pick up the phone ... it 's a question that needs an answer for me ....
Ready ?..."
if you were really honest people, at this very moment to take this computer and threw it in June 'from the window. would be the only thing to do. smash your computer and avoid writing sensational bullshit. I should learn to be more 'respectful. if the world today there is' a group that I would just like to me is the hood. I tell you, dog, pig.
but not 'so'.....
the truth 'and' I want everyone to listen to the hood. 'cause that would make the world more' beautiful, or cmq a better place. I swear. would really be better for everyone.
what about this new record ... .... maybe that is short, there are at least 15 pieces (the album has far fewer pieces ... but who cares) that undoubtedly try to lie down to the mat. you know those songs that take you directly to hurl your head against a wall. do not know? ok, obviously you have never listened to the hood.
I listen to them very often.
example .... every time you download or driven by a girl listening to "the cycle of days and seasons ".... makes me feel even worse ... and it 's just amazing. nothing but get drunk and forget. I do not give anything to forget ... that record unanesthetized amplifies the sorrow ... ... and every time when I read 'hood is finished "I'm in pain ... as if he had not done cmq other albums ... I tend to worry about one thing and then denied the facts ...
of cold house said they were all poor ... many words ... the only person who has written two interesting lines and 'was Simon Reynolds ... "For Hood, Life's a glitch, and then you cry."
outside closer .. I believe that no one has yet written words one word that does justice to this album .... and then take the computer ... I open the Finistra and launch the most 'far as possible ... but' a moment .... maybe they gave them ... "We wanted it to jump out of the speakers" Explains Richard Adams "and to make it Emotionally draining. Anti-indie/tronic. Big Rather Than small. Not background music. Not Necessarily 'Nice'. "
make matters worse for the umpteenth time they ask" Where Is the Love ?"... We had
ok, I support the computer ... pick up the phone ... it 's a question that needs an answer for me ....
Ready ?..."
Mouthwash You Can Swallow
(green ufos) Stock
80 Years. joy and sorrow, before which most people fall into two camps clean and precise, a first contingent of people who leaves slamming the door and cursing bitterly; the remaining broth in jujube, stifling between a lollipop and ecstatic cries at the thought of the city 'to drink, as virgins virgins and mundane boy band "Take On Me "and countless other crap (fashion). The first understand them, and second, we try only to sympathize with and will not be 'easy. In my
careful sociological research, however, 'are able to identify a third category of behavior, or those of the "revival anniottanta" fuck it. Do not slam the door and do not rejoice in vain. The Piano Magic are the "third way" to those unmentionable years. Outline a recovery period of musical aesthetics, they reproduce sounds and abstracts from the ways their time. So doing an operation in the new part, personal. Play materials dating without a date. They write songs hopelessly romantic as it could do the best Felt, This Mortal Coil, Aztec Camera, Durutti Column, New Order et different, but still write their songs. and this time some of their best. A generation of sounds heard, loved, digeriti.Con intellectual autonomy to be sent loud vulgar fuck any attempt to approach a 80's revival.
ps beyond the chatter and this' good album. And I do not want nobody but glen johnsonn leaving very little flashback ...: ... the province of Ferrara a concert in the middle of nowhere ... an industrial area ... 16 ... viewers a handful of English musicians apparently led by a loser skater last category ... but only the physical appearance ... and 'what ... facial expression leaves no hope ... when you are ... very often stay ... a terrible loser. Glen and his associates go on stage and start ... Concert a more 'memorable I've ever seen. Perhaps few people know how to play with emotional urgency that few times I've seen. the rest are crap. the magic plan branded my listening for a few years. crown pieces like summer when you hear them and play them in your face leaves no way out ... you get it now ... well there you are immersed in the bad luck that surrounds people like glen .... I just do not hold the pick in the same way. Long live the king of losers!
80 Years. joy and sorrow, before which most people fall into two camps clean and precise, a first contingent of people who leaves slamming the door and cursing bitterly; the remaining broth in jujube, stifling between a lollipop and ecstatic cries at the thought of the city 'to drink, as virgins virgins and mundane boy band "Take On Me "and countless other crap (fashion). The first understand them, and second, we try only to sympathize with and will not be 'easy. In my
careful sociological research, however, 'are able to identify a third category of behavior, or those of the "revival anniottanta" fuck it. Do not slam the door and do not rejoice in vain. The Piano Magic are the "third way" to those unmentionable years. Outline a recovery period of musical aesthetics, they reproduce sounds and abstracts from the ways their time. So doing an operation in the new part, personal. Play materials dating without a date. They write songs hopelessly romantic as it could do the best Felt, This Mortal Coil, Aztec Camera, Durutti Column, New Order et different, but still write their songs. and this time some of their best. A generation of sounds heard, loved, digeriti.Con intellectual autonomy to be sent loud vulgar fuck any attempt to approach a 80's revival.
ps beyond the chatter and this' good album. And I do not want nobody but glen johnsonn leaving very little flashback ...: ... the province of Ferrara a concert in the middle of nowhere ... an industrial area ... 16 ... viewers a handful of English musicians apparently led by a loser skater last category ... but only the physical appearance ... and 'what ... facial expression leaves no hope ... when you are ... very often stay ... a terrible loser. Glen and his associates go on stage and start ... Concert a more 'memorable I've ever seen. Perhaps few people know how to play with emotional urgency that few times I've seen. the rest are crap. the magic plan branded my listening for a few years. crown pieces like summer when you hear them and play them in your face leaves no way out ... you get it now ... well there you are immersed in the bad luck that surrounds people like glen .... I just do not hold the pick in the same way. Long live the king of losers!
Swollen Nipples Not Pregnant Dog
third part .. . .. conflict of interest
Below, an excerpt of the interview in its entirety NITRADA that you will find the first issue of LOSINGTODAY.
know mr. Nitrada or Christophe Stoll, for several years, when both the music was just a pastime in which to spend a bit ' hours on weekends. Then both threw ourselves seriously in our projects. I'm in Italy with my band (The Gardens of Miro), Hamburg him with his project. I have never abandoned the guitar, he has sold the battery to pay for a good sound card. Meanwhile, between us is born an occasional artistic collaboration ...
The only question I have not done a Christope was as follows: because in all the promotional photos that you have to get canottierina white young longshoreman river?
I do not know why, but I did not have the courage!
Jukka: You're a musician or a producer?
NITRADA: "I think it's important to be both a musician and a producer at the same time. I'd better play the piano, because that would definitely help me in producing my songs. On the other hand I think it's any good way to be a musician not very "capable" because it gives me the opportunity to express myself in a personal way: let's say that I had no teachers and then the method I use is my one and only. Being a drummer, I find it difficult to imagine and work on the rhythmic elements, but the most important are the melodies. These must come from the heart. "
J: This year I have heard many albums of drummers who have become complete musicians. I think B. Fleischman, Phil Elvrum (Microphones) ed infine il tuo. Cosa ti è rimasto dell’esperienza come batterista che ancora oggi ti è utile?
N:"Chi e’ Phil Elvrum?
Quando lavoro ad un pezzo molto spesso mi trovo di fronte a momenti di stallo, dove mi fermo a pensare, programmare, riprogrammare perdendomi in inutili tentativi. E’ in quei momenti che l’esperienza di batterista mi viene in soccorso, ovvero avvicinarsi alla composizione in modo totalmente istintivo. L’istintività ed il “sentire la musica” sono gli insegnamenti che mi porto dietro da anni nascosto dietro rullanti, piatti e tamburi."
J: qualcuno potrebbe dirti che con ‘We Don’t Know Why But We Do It’ stai cercando di seguire fashion and to place you in correntone indietronic. You answer that?
N "Indietronica is a label invented by journalists. Today is 'cool' as a term and immediate, so people have no problem using it, and linked to it. I'm sure that in some time will have the same appeal today that has the word grunge! The label itself does not interest me, the important thing is that most electronic manufacturers are approaching the music 'played' and adding elements 'different' to their productions. This can lead to the creation of exciting new music able to fuse different influences: this is not the thing that should be more important? "
J: Germany is very active in the field of indie, newspapers, radio, labels dedicated exclusively to independent outputs, many bands are able to impose their attention beyond the borders of patri. There are structural reasons or something?
N: "First of all we need to know that Germany is not as 'musical' as important in many tend to believe. If we look around there are great projects all over the world. Too many treasures remain hidden because they all simply look in the usual places. And for the artists: Do not send your demo in Germany hoping that your artistic life changes: started to stir things where you are! "
J: How is your live set? I hope not a laptop pallosissimo set!
N: "Oh no, I'll never make boring laptop set! Replace my mouse with a pair of drumsticks and a snare. My friend Johannes play bass or guitar, and Nina, which is also present in the album, will help me for the vocals. At this time we are trying to play the album in the live version, trying to figure out what can be played and what will be played on the computer. "
Below, an excerpt of the interview in its entirety NITRADA that you will find the first issue of LOSINGTODAY.
know mr. Nitrada or Christophe Stoll, for several years, when both the music was just a pastime in which to spend a bit ' hours on weekends. Then both threw ourselves seriously in our projects. I'm in Italy with my band (The Gardens of Miro), Hamburg him with his project. I have never abandoned the guitar, he has sold the battery to pay for a good sound card. Meanwhile, between us is born an occasional artistic collaboration ...
The only question I have not done a Christope was as follows: because in all the promotional photos that you have to get canottierina white young longshoreman river?
I do not know why, but I did not have the courage!
Jukka: You're a musician or a producer?
NITRADA: "I think it's important to be both a musician and a producer at the same time. I'd better play the piano, because that would definitely help me in producing my songs. On the other hand I think it's any good way to be a musician not very "capable" because it gives me the opportunity to express myself in a personal way: let's say that I had no teachers and then the method I use is my one and only. Being a drummer, I find it difficult to imagine and work on the rhythmic elements, but the most important are the melodies. These must come from the heart. "
J: This year I have heard many albums of drummers who have become complete musicians. I think B. Fleischman, Phil Elvrum (Microphones) ed infine il tuo. Cosa ti è rimasto dell’esperienza come batterista che ancora oggi ti è utile?
N:"Chi e’ Phil Elvrum?
Quando lavoro ad un pezzo molto spesso mi trovo di fronte a momenti di stallo, dove mi fermo a pensare, programmare, riprogrammare perdendomi in inutili tentativi. E’ in quei momenti che l’esperienza di batterista mi viene in soccorso, ovvero avvicinarsi alla composizione in modo totalmente istintivo. L’istintività ed il “sentire la musica” sono gli insegnamenti che mi porto dietro da anni nascosto dietro rullanti, piatti e tamburi."
J: qualcuno potrebbe dirti che con ‘We Don’t Know Why But We Do It’ stai cercando di seguire fashion and to place you in correntone indietronic. You answer that?
N "Indietronica is a label invented by journalists. Today is 'cool' as a term and immediate, so people have no problem using it, and linked to it. I'm sure that in some time will have the same appeal today that has the word grunge! The label itself does not interest me, the important thing is that most electronic manufacturers are approaching the music 'played' and adding elements 'different' to their productions. This can lead to the creation of exciting new music able to fuse different influences: this is not the thing that should be more important? "
J: Germany is very active in the field of indie, newspapers, radio, labels dedicated exclusively to independent outputs, many bands are able to impose their attention beyond the borders of patri. There are structural reasons or something?
N: "First of all we need to know that Germany is not as 'musical' as important in many tend to believe. If we look around there are great projects all over the world. Too many treasures remain hidden because they all simply look in the usual places. And for the artists: Do not send your demo in Germany hoping that your artistic life changes: started to stir things where you are! "
J: How is your live set? I hope not a laptop pallosissimo set!
N: "Oh no, I'll never make boring laptop set! Replace my mouse with a pair of drumsticks and a snare. My friend Johannes play bass or guitar, and Nina, which is also present in the album, will help me for the vocals. At this time we are trying to play the album in the live version, trying to figure out what can be played and what will be played on the computer. "
How Far Do Airsoft Guns Shoot
archive part 2 ... and here 's been a little' time-l'intervista 02-2002
Thaddi Herrmann is a guy. I is really nice. is a simple person, very friendly. What's more, Thaddi is a real music fan. But those honest experience a true love for music ...
Thaddi has a label. It's called City Centre Offices and a couple of years now you are defending nell'affollatissimo music market, report it to our attention with excellent output quality. Just watching the last year with singles such as those of remote viewers (ex hood ... and riddaiie!) Or Berlin Zorn, and albums of opiate / dubtractor (opiate is simply good thomas knak important collaborator in ' Björk last) or the wonderful debut by Ulrich Schnauss there would be a miracle ...
If we think about the past, well I would say too much in saying that the CCO has published one of the hard idm most important as ever: the incomparable "tides" of Arovane.
Thaddi is a journalist. Music. To really do not like me. And it does so for the types of De: bug, the largest newspaper on electronics production in Germany. And mouse.
Thaddi is a musician. Formerly under the name of sonic subjunkies we pounded her head with his "happy-core", a wild rhythm to sound harsh but never intensely violent or dark ... gabber stuff seemed certain to double-speed delivery!. and not that he did for his fellow tour and nothing more, but he published for several labels including the digital hardcore recordings of Alec Empire. Then
growing has resulted in the best beaches (but that's just my view) with the collaboration of this Christian Kleine. We need to talk to the duo of soft sounds, melodies of
sinuous synth that you embrace, a poignant sense of melancholy
. Their records I like a lot. Really.
Thaddi also has something to say ...
Thaddi Ok ... how did you approach to electronic music ... or, more generally, to the music?
I would say that it all started when he was eight years old when my uncle made me listen to the works of Jean-Michel Jarre.
When I was little I used to listen to all types of music on the radio. At the time there was this
radio show called "Hey music" dedicated to the pop charts and everyone at school we used to listen to it. So I ... then from there there was my first true love: Depeche Mode.
I was about 13 years, bought all the productions concerning them, including live bootlegs and things like that ... Depeche Mode have approached me to electronic music and from there I started listening to all that came out for the same label: the mute.
doing so I began to find people like Fad Gadget, Nitzer Ebb, Daniel Miller, DAF, Throbbing Gristle ... CONSEQUENT I became interested in some of the sounds of English education as Slowdive and My Bloody Valentine ... and finally, came the techno.
Techno in Berlin for me meant the production dell'undergrond resistance, the sound of Detroit and breakbeat. In 1990 through some friends got in touch with Alec Empire and started to attend the "bass terror parties" where I met a lot of people with whom still work. Breakbeat
meant absolute freedom of expression in those days.
When you feel the need to work actively with the world of music, from a listener muscista and label owner?
My first intention was definitely not one to be a musician.
In the early years of the last decade there was such an excitement that everyone had in some way to deal with varied instrumentation and synth ... were there, them he had under his eyes ... I myself had a little synth dell'ensoniq. I discovered immediately that I would not have done anything without the sampler, so I bought a sampler emax ii and began to jot down ideas. Alec Empire stimulated everyone, made sure that we will transform our ideas into something concrete and done.
So it all started.
After school, I started working as a journalist, and after a couple of years I began my association with De: bug (the most important and comprehensive publication-biweekly-in electronics in germany ... and perhaps in Europe. .. ed) as editor.
Soon afterwards came the label, which is quite immediate since in the meantime I had learned about the logic of the environment, the way people work, contacts, people
The City Centre Offices has several titles in its catalog some really different.
The scope is always that electrons flow from the melancholic melodies odor "pop" by Ulrich Schnauss up to the sounds of skeletal Denzel & Huhn.
What is the aesthetic of the sound output from it? I do not think you can
Pearls of beauty, indeed I think there is. The most important thing for our output is that we like and that there is still so un'approccio in Quelch and melodic pop.
So each output has in this taste, even as production or snd Denzel & Huhn of appearance might suggest otherwise.
What most every difficulty you are facing in managing your label?
(Taking into account that Below is also involved in another boy ... manchester! ...
Can this distance, and then be in a different reality than the German to become an advantage, a broadening their views?)
Working for the CCO with Shlomo Svir is perfect! First, because better to choose along with another person or not disc implement, and secondly, Shlomo has created his own particular network in England and this allows an efficient distribution of our records not only in Germany.
Most difficulties are those related to financial matters. The record industry has gone through a profound period of crisis du and is always difficult to be paid.
I think that 2002 will see the disappearance of different labels, this is due to the proliferation of too many new label and then exits. In this saturated market, many productions
struggling to find the necessary space.
I think that for a label in order to survive, it is important to check the quality of outputs and a solid work and studied with regard to the promotion
The fact that we live and work in a city like Berlin you think your work has facilitated these years?
Very much. The greatest advantage of Berlin is that you're in the middle of an incredible network where people support each other in their work.
There is a constant awareness and interest in the work of others. We routinely help each other.
I think it is a feature unique to Berlin, but I know that is not the case everywhere. You
facing the music scene as the sonic subjunkies, publishing several titles for the types of dhr. It 'a closed chapter, or you're just taking a break?
There will be other releases like Sonic subjunkies. Maybe I'll work on in the future sounds like, but certainly I'll use a different name.
the madness and roughness of your first production and the soft sound of vellutatipassaggi Herrmann & Kleine ... What happened? home where he found the change so radically?
To tell the truth I do not think we can speak of such a radical change. I always had a very broad musical horizon and I tried to Simplify the production of different things. Herrmann & Kleine
produce music that is very "personal, private, and it is certainly the most personal thing I've ever done. stems from a deep sense of sadness and frustration that has accompanied me over the last three years. It 'was a way to exorcise it, an attempt to compensate for
emotions.
Christian Klein (your fellow adventure) gave us some brilliant solo evidence (to be published on a mini morr music ...). You also going to prepare some material under your name or your solo work is the CCO?
hand I'm putting some ideas ... who knows ... ;-)
After two EPs and a number of tracks scattered in many compilations, the next step for H & K will be your first lp. "Our noise" ... a few words about ...
In our first work on the long term will offer tracks recorded last year and a half. Compared with the previous "Kickboard ep" will not be so elegiac, indeed some are even uptempo tracks. We also worked with a singer. We hope that people like it, we spent a lot of time and effort into its production.
vosatro On the commencement of live material. What is your approach to the live set? ... try to reproduce the physicality of a rock concert or you are looking for other solutions?
A live set should be able to go beyond the pure energy. I think I should fluctuate constantly and never rely too much on a specific aspect.
It 's hard enough to revive our music live, so we bought several new instruments, like a vibraphone, electric and acoustic guitar, to combine with what is our first instrument: the powerbook. The real problem
transpose our duranbte the live sound and that we should take with us throughout our study, which frankly is not the best. And in the end it's not even so important ... what matters is good music at all.
What are the next steps for the CCO and h & kleine? There are a couple of
coming out for the CCO. The first album will be static in February and in April will be up to British remote viewers.
Later there will be a solo album of Robert Lippok (To Rococo Rot). While
h & k as an early departure for the tour, but when we are already working on a new ep which will see a greater emphasis on vocals.
last stupid question: can a guitar and a voice to make you cry?
Slowdive we can every day.
that luck be with you dear Thaddi. I do cheer for you!
Thaddi Herrmann is a guy. I is really nice. is a simple person, very friendly. What's more, Thaddi is a real music fan. But those honest experience a true love for music ...
Thaddi has a label. It's called City Centre Offices and a couple of years now you are defending nell'affollatissimo music market, report it to our attention with excellent output quality. Just watching the last year with singles such as those of remote viewers (ex hood ... and riddaiie!) Or Berlin Zorn, and albums of opiate / dubtractor (opiate is simply good thomas knak important collaborator in ' Björk last) or the wonderful debut by Ulrich Schnauss there would be a miracle ...
If we think about the past, well I would say too much in saying that the CCO has published one of the hard idm most important as ever: the incomparable "tides" of Arovane.
Thaddi is a journalist. Music. To really do not like me. And it does so for the types of De: bug, the largest newspaper on electronics production in Germany. And mouse.
Thaddi is a musician. Formerly under the name of sonic subjunkies we pounded her head with his "happy-core", a wild rhythm to sound harsh but never intensely violent or dark ... gabber stuff seemed certain to double-speed delivery!. and not that he did for his fellow tour and nothing more, but he published for several labels including the digital hardcore recordings of Alec Empire. Then
growing has resulted in the best beaches (but that's just my view) with the collaboration of this Christian Kleine. We need to talk to the duo of soft sounds, melodies of
sinuous synth that you embrace, a poignant sense of melancholy
. Their records I like a lot. Really.
Thaddi also has something to say ...
Thaddi Ok ... how did you approach to electronic music ... or, more generally, to the music?
I would say that it all started when he was eight years old when my uncle made me listen to the works of Jean-Michel Jarre.
When I was little I used to listen to all types of music on the radio. At the time there was this
radio show called "Hey music" dedicated to the pop charts and everyone at school we used to listen to it. So I ... then from there there was my first true love: Depeche Mode.
I was about 13 years, bought all the productions concerning them, including live bootlegs and things like that ... Depeche Mode have approached me to electronic music and from there I started listening to all that came out for the same label: the mute.
doing so I began to find people like Fad Gadget, Nitzer Ebb, Daniel Miller, DAF, Throbbing Gristle ... CONSEQUENT I became interested in some of the sounds of English education as Slowdive and My Bloody Valentine ... and finally, came the techno.
Techno in Berlin for me meant the production dell'undergrond resistance, the sound of Detroit and breakbeat. In 1990 through some friends got in touch with Alec Empire and started to attend the "bass terror parties" where I met a lot of people with whom still work. Breakbeat
meant absolute freedom of expression in those days.
When you feel the need to work actively with the world of music, from a listener muscista and label owner?
My first intention was definitely not one to be a musician.
In the early years of the last decade there was such an excitement that everyone had in some way to deal with varied instrumentation and synth ... were there, them he had under his eyes ... I myself had a little synth dell'ensoniq. I discovered immediately that I would not have done anything without the sampler, so I bought a sampler emax ii and began to jot down ideas. Alec Empire stimulated everyone, made sure that we will transform our ideas into something concrete and done.
So it all started.
After school, I started working as a journalist, and after a couple of years I began my association with De: bug (the most important and comprehensive publication-biweekly-in electronics in germany ... and perhaps in Europe. .. ed) as editor.
Soon afterwards came the label, which is quite immediate since in the meantime I had learned about the logic of the environment, the way people work, contacts, people
The City Centre Offices has several titles in its catalog some really different.
The scope is always that electrons flow from the melancholic melodies odor "pop" by Ulrich Schnauss up to the sounds of skeletal Denzel & Huhn.
What is the aesthetic of the sound output from it? I do not think you can
Pearls of beauty, indeed I think there is. The most important thing for our output is that we like and that there is still so un'approccio in Quelch and melodic pop.
So each output has in this taste, even as production or snd Denzel & Huhn of appearance might suggest otherwise.
What most every difficulty you are facing in managing your label?
(Taking into account that Below is also involved in another boy ... manchester! ...
Can this distance, and then be in a different reality than the German to become an advantage, a broadening their views?)
Working for the CCO with Shlomo Svir is perfect! First, because better to choose along with another person or not disc implement, and secondly, Shlomo has created his own particular network in England and this allows an efficient distribution of our records not only in Germany.
Most difficulties are those related to financial matters. The record industry has gone through a profound period of crisis du and is always difficult to be paid.
I think that 2002 will see the disappearance of different labels, this is due to the proliferation of too many new label and then exits. In this saturated market, many productions
struggling to find the necessary space.
I think that for a label in order to survive, it is important to check the quality of outputs and a solid work and studied with regard to the promotion
The fact that we live and work in a city like Berlin you think your work has facilitated these years?
Very much. The greatest advantage of Berlin is that you're in the middle of an incredible network where people support each other in their work.
There is a constant awareness and interest in the work of others. We routinely help each other.
I think it is a feature unique to Berlin, but I know that is not the case everywhere. You
facing the music scene as the sonic subjunkies, publishing several titles for the types of dhr. It 'a closed chapter, or you're just taking a break?
There will be other releases like Sonic subjunkies. Maybe I'll work on in the future sounds like, but certainly I'll use a different name.
the madness and roughness of your first production and the soft sound of vellutatipassaggi Herrmann & Kleine ... What happened? home where he found the change so radically?
To tell the truth I do not think we can speak of such a radical change. I always had a very broad musical horizon and I tried to Simplify the production of different things. Herrmann & Kleine
produce music that is very "personal, private, and it is certainly the most personal thing I've ever done. stems from a deep sense of sadness and frustration that has accompanied me over the last three years. It 'was a way to exorcise it, an attempt to compensate for
emotions.
Christian Klein (your fellow adventure) gave us some brilliant solo evidence (to be published on a mini morr music ...). You also going to prepare some material under your name or your solo work is the CCO?
hand I'm putting some ideas ... who knows ... ;-)
After two EPs and a number of tracks scattered in many compilations, the next step for H & K will be your first lp. "Our noise" ... a few words about ...
In our first work on the long term will offer tracks recorded last year and a half. Compared with the previous "Kickboard ep" will not be so elegiac, indeed some are even uptempo tracks. We also worked with a singer. We hope that people like it, we spent a lot of time and effort into its production.
vosatro On the commencement of live material. What is your approach to the live set? ... try to reproduce the physicality of a rock concert or you are looking for other solutions?
A live set should be able to go beyond the pure energy. I think I should fluctuate constantly and never rely too much on a specific aspect.
It 's hard enough to revive our music live, so we bought several new instruments, like a vibraphone, electric and acoustic guitar, to combine with what is our first instrument: the powerbook. The real problem
transpose our duranbte the live sound and that we should take with us throughout our study, which frankly is not the best. And in the end it's not even so important ... what matters is good music at all.
What are the next steps for the CCO and h & kleine? There are a couple of
coming out for the CCO. The first album will be static in February and in April will be up to British remote viewers.
Later there will be a solo album of Robert Lippok (To Rococo Rot). While
h & k as an early departure for the tour, but when we are already working on a new ep which will see a greater emphasis on vocals.
last stupid question: can a guitar and a voice to make you cry?
Slowdive we can every day.
that luck be with you dear Thaddi. I do cheer for you!
Marines Eyesight Requirements
footage dates back to around 2000 ... ...
For those who want to get an idea of the label and its sound can also start from the seminal double-CD compilation Rate-Bazza "Putting The Morr Back In Morrissey."
The following is an interview with the deus ex machina of the label, Thomas Morr, conducted via e-mail the brave Jukka Reverberi Gardens and Miro originally appeared http://www.insound.com and here translated into signed by the Italian Giovanni Gandolfi.
Who are you? ... Presented to our readers.
In one way or another are more than ten years that I deal with music as a DJ from 18 to 24 years, as local concert promoter, as a clerk in a record store and I took care of a mailorder catalog.
Then I started working for a small distributor in Germany called Hausmusik, where I deal with exports and purchases of securities electronically.
In addition, I studied history and German for some years, but without success. Markus
the summer of 1998 of the Notwist and Wolfgang Hausmusik asked me if I would like to take care to schedule a new independent distribution in Monaco, so I started to Hausmusik
Shortly after we started this new job started to have in our catalog most of the smaller British labels and I liked the most.
doing so we became part of a sort of network formed around labels such as Hobby Industries, City Centre Offices, Atomic and Din.
In this case it was a network where he had shared the same interest in the electronic melodies, the complexity of programmed beats and sounds inspired by 'abstract hip-hop, with the result of the birth of friendships and contacts at the international level, expanding and linking up the anime and the concepts behind it were more or less geographically distant bedroom-studios, offices and living room shelves of records.
When and why you founded the label?
After a couple of months that I worked for the distribution Hausmusik I was sure it was the right time to start the label. B. Fleischmann, the first artist to be released on Morr, I was presented through a radio host and by Austrian Markus Archer (a component of Lali Puna - Notwist - Tied & Tickled Trio as well as my roommate for a time) in a period in which I had already been confirmed out of Lali Puna and Isan.
I have been in contact with Bernhard (Fleischmann), and then things have developed very quickly.
What is the basic idea behind the label?
guess the same ideas that often lead to the birth of a new label. First of all I was a
fan and a collector of labels such as Wurlitzer Jukebox, Static Caravan, Skam - labels who work largely as a "project-label."
Since I was a part of this "scene" of collectors I could get my hands on the most attractive stocks, but I realized that most of the artists had a higher limited edition of 750 copies and, although still I like the idea of unique and individual tracks, Morr is focused more on the entire album. By
still part of the network where there are already many great labels of individual British became natural that I try to reach more people with outputs that would still remain in print even if exhausted.
With ISAN I asked one of my groups "" favorites, they have agreed and so the idea became more concrete. The Morr Music
works a bit 'like this: on one hand as an "artist-label, trying to grow some musicians and possibly keep them in close contact with the label for several albums, making them" resident-artists " (groups that publish only a label). The Morr Music
certainly does not want to slow down the activities of its artists, but since most of them are also friends, discuss before any releases for other labels.
There is however too want to also be a "project label, which includes being able to promote new artists with a quick statement in the form of an EP, so as to put the new artists in a circumstances already recognized and recognizable.
Lastly, do not in order of importance, Morr is also characterized by the visual aspect, as my best friend is a graphic artist Jan Kruse and is responsible for "corporate" design covers the outputs Morr.
What is the aesthetic / ethic that drives the Morr? There is a thread that unites all your publications?
What I like, it's almost all here (ethics / aesthetics), when I do not like them cuts with the public.
It 's more a question about the future because so far I have chosen the artists for their music, assuming that would also cover them in my way of looking at the label, because I think they have preferences similar to mine in music and therefore I imagine that their tastes will develop in my own way. I imagine them to be chosen with great care, are all musically very open, not fixed on a single musical genre and a bit 'more informed of the majority of artists I know. Or something like that. They are people interested in what they do and also what others do. Very often a social approach to music (way of experiencing music with others) similar to mine. This is one of the most exciting of which label to worry about.
The city of Berlin and its electronic music scene have an influence on the outputs of Morr? And also give us your opinion about Berlin ...
We are putting together a collection of six labels in conjunction Berlin: DIN, CCO, lux nigra, hey rec, ADSR and morr music.
A sort of statement about how we see also Berlin though of course there are other labels such as Scape, Monolake and others that operate in an environment similar to ours, separated from the dancefloor-oriented 100%.
Why did you call your first compilation "Putting The Morr Back In Morrissey? It 'a play on words or a dedication?
I can only say that I was once asked by a French journalist to write a sentence about each of my artists.
Styrofoam (Morr Music 010, 015) I wrote that his vocal samples, vocals remind me of Mr. Morrissey.
I told Arne aka Styrofoam on the day before the burning of his album.
He said he has actually learned to sing songs of thanks to the Smiths and then the next night we listened with the Smiths, thinking about the carefree days when we were young and sad, realizing that you have a musical past in common with my artists.
I think actually that we all have in common key-disk.
Perhaps the title of the next compilation will be referred to the My Bloody Valentine and Seefeel or maybe the next one to Autechre. Oops! And to be honest this game of words with Morr (Issey) I did when I was 15 and it was fun to remember
The Smiths were important for my "socialization Music, "but were also the New Order, OMD and Soft Cell's so even if the title refers to that little anecdote with Arne there may be something more behind.
Maybe the same thing happened again 10 years later by the first releases of the Too Pure and Tortoise.
Your label is fast becoming the state of "cult label" ... .. It seems to me a kind of transposition of the label Sarah Records indie pop queen in electronics ... what do you think? (It is my belief, but ok when I buy the lp Wechsel Garland and see the graphics ... the photo of the bedroom ... you know ...) And
' Funny how the word "cult" has been part of all the interviews that I received via e-mail or by telephone.
I mean, I am honored, but it is more due to the fact that most of my pop artists are influenced by the index.
I would not say, however, Sarah & Co. and also no records of the labels of new indie pop that I do not like at all, since I do not like the easy listening that is a major DEEP balls you can imagine.
But I can think of the first things 4AD, Too Pure ... but this is certainly not new schmaltz of several retro labels that refer to Sarah. The cover of
Wechsel Garland is one of those which are not representative of the label. About
reminded me of The Smiths
in your catalog there are two discs of remixes. ... That of Tied & Tickled Trio is great, but why did you choose to publish an album of remixes of guitar bands like Piano Magic? I seem so far away from the things you do. ... There is some connection with the world of Indie Rock?
I still love the music groups and indie pop, but unfortunately not much is happening in that genre.
I lost interest in most of the labels and prefer still the originals rather than copies, from which we are overwhelmed now, even if they are popular.
I love Piano Magic, Low, Stereolab, and various other bands.
Obviously I'm also a big fan of the Tied & Tickled Trio and is the reason why we started to work together and therefore are very keen to hear their next album.
guess I could publish works by more bands, it's just that there are a few that I really like.
discs of Morr have their own visual style ... .. believe in some sort of connection between music and graphics?
As I said I am a collector and my best Jan's friend from school (the 08 design) is responsible for the thread that binds the various graphic outputs.
We discussed this before starting the label. I liked the image of labels like Touch and Mego, whose artwork has a clear identity and I wanted to do something.
We have already won an award for the design of copertime in 2000.
I see the various parts of the disks as a single thing, and I do not like the normal cover because I believe that every detail has its importance in a disk.
essentially discusses the past?
Autechre - everything Codeine - everything brian eno - music for airports, Mogwai - early releases, Mouse on Mars - the first album, My Bloody Valentine - All; Omd - First lp; Pan American - st; Pan Sonic - everything Sebadoh - Bakesale; Seefeel - Quique; Slint - Spiderland; Slowdive - Souvlaki, The Smiths - everything Sonic Youth - Daydream Nation; Stereolab - Space Age and the early albums; Tortoise - Gamera and the early albums, Talk Talk, Pavement, Ween, Yo La Tengo, Kraftwerk, so I am a true indie kid.
What is your favorite label?
are in the fortunate position that some of my friends run labels that I like very much.
The Hobby Industries of Opiate, the CCO Mr. Hermann is (Hermann & Kleine) and our friend who started a fantastic distribution for the United Kingdom called Baked Goods, Atomic is the Styrofoam and Din is of our friends at Hard Wax which also address the distribution .
Somehow we support each other and we became friends that way or you had known before.
In addition we worked with several labels, Miami and the west coast of America. It 's a friendly competition but let's add up our efforts and am making plans for a sub-deployment together with Christian Kleine (Hermann & Kleine) here in Berlin, to give our maximum label support with a common office and the idea of building new facilities for artists and labels we like.
I'm still a collector and then appoint some labels may lead to a long list!
I have appointed the most important before but I might add Schematic (us), Chocolate Industries (us), Static Caravan (UK), Warp, Vertical Form (uk), Hefty (us), Process (uk) Karaoke Kalk ( Cologne), ADSR (Berlin), in short I'm still a collector.
The future of music ... .. Thomas Morr?
In part I had problems for the speed with which the label was developing, why not just getting used to a situation, things had already changed.
Since I am still working on the distribution are actually busy with two jobs each of which should be done more than full time.
Christian Kleine has started working for the label in 2001 and I hope we can grow together with some of the artists and distributors with whom we have decided to work and decide.
Because of Morr artists have been some interest and have received offers from all major labels would be natural for me to try to take the next step but I'd do it within existing structures to maintain control.
Plus I'm 'making up' a company with a friend for copyright to be able to add another link in the chain of the music business. But
must be something more than simply collect mechanical royalties.
I started to look after the printing of records for some labels, especially with artists I was working with, as in the case of Opiate and his Hobby Industries Suction or Solvent and its records.
With labels, I think, to maintain a constant high standard.
I take care of printing discs and offer a catalog of these labels, together with the mine, where I turn to distributors.
's just a combined effort with people whom I have to reach more listeners.
And thanks to my job in export to Hausmusik is something you do every day anyway.
The next label will be to Orvar Mum from 'Iceland, certainly one of the best bands for some time now, and then a U.S. label debut with a double lp of Lexaunculpt. Perhaps other
later, we'll see.
For those who want to get an idea of the label and its sound can also start from the seminal double-CD compilation Rate-Bazza "Putting The Morr Back In Morrissey."
The following is an interview with the deus ex machina of the label, Thomas Morr, conducted via e-mail the brave Jukka Reverberi Gardens and Miro originally appeared http://www.insound.com and here translated into signed by the Italian Giovanni Gandolfi.
Who are you? ... Presented to our readers.
In one way or another are more than ten years that I deal with music as a DJ from 18 to 24 years, as local concert promoter, as a clerk in a record store and I took care of a mailorder catalog.
Then I started working for a small distributor in Germany called Hausmusik, where I deal with exports and purchases of securities electronically.
In addition, I studied history and German for some years, but without success. Markus
the summer of 1998 of the Notwist and Wolfgang Hausmusik asked me if I would like to take care to schedule a new independent distribution in Monaco, so I started to Hausmusik
Shortly after we started this new job started to have in our catalog most of the smaller British labels and I liked the most.
doing so we became part of a sort of network formed around labels such as Hobby Industries, City Centre Offices, Atomic and Din.
In this case it was a network where he had shared the same interest in the electronic melodies, the complexity of programmed beats and sounds inspired by 'abstract hip-hop, with the result of the birth of friendships and contacts at the international level, expanding and linking up the anime and the concepts behind it were more or less geographically distant bedroom-studios, offices and living room shelves of records.
When and why you founded the label?
After a couple of months that I worked for the distribution Hausmusik I was sure it was the right time to start the label. B. Fleischmann, the first artist to be released on Morr, I was presented through a radio host and by Austrian Markus Archer (a component of Lali Puna - Notwist - Tied & Tickled Trio as well as my roommate for a time) in a period in which I had already been confirmed out of Lali Puna and Isan.
I have been in contact with Bernhard (Fleischmann), and then things have developed very quickly.
What is the basic idea behind the label?
guess the same ideas that often lead to the birth of a new label. First of all I was a
fan and a collector of labels such as Wurlitzer Jukebox, Static Caravan, Skam - labels who work largely as a "project-label."
Since I was a part of this "scene" of collectors I could get my hands on the most attractive stocks, but I realized that most of the artists had a higher limited edition of 750 copies and, although still I like the idea of unique and individual tracks, Morr is focused more on the entire album. By
still part of the network where there are already many great labels of individual British became natural that I try to reach more people with outputs that would still remain in print even if exhausted.
With ISAN I asked one of my groups "" favorites, they have agreed and so the idea became more concrete. The Morr Music
works a bit 'like this: on one hand as an "artist-label, trying to grow some musicians and possibly keep them in close contact with the label for several albums, making them" resident-artists " (groups that publish only a label). The Morr Music
certainly does not want to slow down the activities of its artists, but since most of them are also friends, discuss before any releases for other labels.
There is however too want to also be a "project label, which includes being able to promote new artists with a quick statement in the form of an EP, so as to put the new artists in a circumstances already recognized and recognizable.
Lastly, do not in order of importance, Morr is also characterized by the visual aspect, as my best friend is a graphic artist Jan Kruse and is responsible for "corporate" design covers the outputs Morr.
What is the aesthetic / ethic that drives the Morr? There is a thread that unites all your publications?
What I like, it's almost all here (ethics / aesthetics), when I do not like them cuts with the public.
It 's more a question about the future because so far I have chosen the artists for their music, assuming that would also cover them in my way of looking at the label, because I think they have preferences similar to mine in music and therefore I imagine that their tastes will develop in my own way. I imagine them to be chosen with great care, are all musically very open, not fixed on a single musical genre and a bit 'more informed of the majority of artists I know. Or something like that. They are people interested in what they do and also what others do. Very often a social approach to music (way of experiencing music with others) similar to mine. This is one of the most exciting of which label to worry about.
The city of Berlin and its electronic music scene have an influence on the outputs of Morr? And also give us your opinion about Berlin ...
We are putting together a collection of six labels in conjunction Berlin: DIN, CCO, lux nigra, hey rec, ADSR and morr music.
A sort of statement about how we see also Berlin though of course there are other labels such as Scape, Monolake and others that operate in an environment similar to ours, separated from the dancefloor-oriented 100%.
Why did you call your first compilation "Putting The Morr Back In Morrissey? It 'a play on words or a dedication?
I can only say that I was once asked by a French journalist to write a sentence about each of my artists.
Styrofoam (Morr Music 010, 015) I wrote that his vocal samples, vocals remind me of Mr. Morrissey.
I told Arne aka Styrofoam on the day before the burning of his album.
He said he has actually learned to sing songs of thanks to the Smiths and then the next night we listened with the Smiths, thinking about the carefree days when we were young and sad, realizing that you have a musical past in common with my artists.
I think actually that we all have in common key-disk.
Perhaps the title of the next compilation will be referred to the My Bloody Valentine and Seefeel or maybe the next one to Autechre. Oops! And to be honest this game of words with Morr (Issey) I did when I was 15 and it was fun to remember
The Smiths were important for my "socialization Music, "but were also the New Order, OMD and Soft Cell's so even if the title refers to that little anecdote with Arne there may be something more behind.
Maybe the same thing happened again 10 years later by the first releases of the Too Pure and Tortoise.
Your label is fast becoming the state of "cult label" ... .. It seems to me a kind of transposition of the label Sarah Records indie pop queen in electronics ... what do you think? (It is my belief, but ok when I buy the lp Wechsel Garland and see the graphics ... the photo of the bedroom ... you know ...) And
' Funny how the word "cult" has been part of all the interviews that I received via e-mail or by telephone.
I mean, I am honored, but it is more due to the fact that most of my pop artists are influenced by the index.
I would not say, however, Sarah & Co. and also no records of the labels of new indie pop that I do not like at all, since I do not like the easy listening that is a major DEEP balls you can imagine.
But I can think of the first things 4AD, Too Pure ... but this is certainly not new schmaltz of several retro labels that refer to Sarah. The cover of
Wechsel Garland is one of those which are not representative of the label. About
reminded me of The Smiths
in your catalog there are two discs of remixes. ... That of Tied & Tickled Trio is great, but why did you choose to publish an album of remixes of guitar bands like Piano Magic? I seem so far away from the things you do. ... There is some connection with the world of Indie Rock?
I still love the music groups and indie pop, but unfortunately not much is happening in that genre.
I lost interest in most of the labels and prefer still the originals rather than copies, from which we are overwhelmed now, even if they are popular.
I love Piano Magic, Low, Stereolab, and various other bands.
Obviously I'm also a big fan of the Tied & Tickled Trio and is the reason why we started to work together and therefore are very keen to hear their next album.
guess I could publish works by more bands, it's just that there are a few that I really like.
discs of Morr have their own visual style ... .. believe in some sort of connection between music and graphics?
As I said I am a collector and my best Jan's friend from school (the 08 design) is responsible for the thread that binds the various graphic outputs.
We discussed this before starting the label. I liked the image of labels like Touch and Mego, whose artwork has a clear identity and I wanted to do something.
We have already won an award for the design of copertime in 2000.
I see the various parts of the disks as a single thing, and I do not like the normal cover because I believe that every detail has its importance in a disk.
essentially discusses the past?
Autechre - everything Codeine - everything brian eno - music for airports, Mogwai - early releases, Mouse on Mars - the first album, My Bloody Valentine - All; Omd - First lp; Pan American - st; Pan Sonic - everything Sebadoh - Bakesale; Seefeel - Quique; Slint - Spiderland; Slowdive - Souvlaki, The Smiths - everything Sonic Youth - Daydream Nation; Stereolab - Space Age and the early albums; Tortoise - Gamera and the early albums, Talk Talk, Pavement, Ween, Yo La Tengo, Kraftwerk, so I am a true indie kid.
What is your favorite label?
are in the fortunate position that some of my friends run labels that I like very much.
The Hobby Industries of Opiate, the CCO Mr. Hermann is (Hermann & Kleine) and our friend who started a fantastic distribution for the United Kingdom called Baked Goods, Atomic is the Styrofoam and Din is of our friends at Hard Wax which also address the distribution .
Somehow we support each other and we became friends that way or you had known before.
In addition we worked with several labels, Miami and the west coast of America. It 's a friendly competition but let's add up our efforts and am making plans for a sub-deployment together with Christian Kleine (Hermann & Kleine) here in Berlin, to give our maximum label support with a common office and the idea of building new facilities for artists and labels we like.
I'm still a collector and then appoint some labels may lead to a long list!
I have appointed the most important before but I might add Schematic (us), Chocolate Industries (us), Static Caravan (UK), Warp, Vertical Form (uk), Hefty (us), Process (uk) Karaoke Kalk ( Cologne), ADSR (Berlin), in short I'm still a collector.
The future of music ... .. Thomas Morr?
In part I had problems for the speed with which the label was developing, why not just getting used to a situation, things had already changed.
Since I am still working on the distribution are actually busy with two jobs each of which should be done more than full time.
Christian Kleine has started working for the label in 2001 and I hope we can grow together with some of the artists and distributors with whom we have decided to work and decide.
Because of Morr artists have been some interest and have received offers from all major labels would be natural for me to try to take the next step but I'd do it within existing structures to maintain control.
Plus I'm 'making up' a company with a friend for copyright to be able to add another link in the chain of the music business. But
must be something more than simply collect mechanical royalties.
I started to look after the printing of records for some labels, especially with artists I was working with, as in the case of Opiate and his Hobby Industries Suction or Solvent and its records.
With labels, I think, to maintain a constant high standard.
I take care of printing discs and offer a catalog of these labels, together with the mine, where I turn to distributors.
's just a combined effort with people whom I have to reach more listeners.
And thanks to my job in export to Hausmusik is something you do every day anyway.
The next label will be to Orvar Mum from 'Iceland, certainly one of the best bands for some time now, and then a U.S. label debut with a double lp of Lexaunculpt. Perhaps other
later, we'll see.
Friday, April 1, 2005
Cartier Paris Qvartz Swiss 20-61323
After much
I'm back here.
Where to start?
Spring is coming, hence the plant blooms on my side: D
He called me the other day an old friend of mine (of which in the past, among other things, I was obviously overcooked without being returned as happens to me ... ^^;;), always we met in a long time and finally convinced me to do what I wanted to take several months but I always returned: start running back to a physical form that I have lost for eons ... this morning and then wear the suit and go running together. She runs
three years ago and now is nothing like an hour in a row, after 10 minutes I already weirs, lol, humiliating enough (though in reality after two years of complete inactivity I did well too)
now the important thing is to continue consistently, even a little at a time ... and maybe sooner or later I'll get to have a shape at least acceptable, it will be frustrating thinking about my former glory, maybe you will not believe no one here but in 14-15 years I was a force of nature, like lightning ran, I ran long, ran well bringing other people on his shoulders ... I was a rock .... and now I am a jelly bleargh me I suck, lol
addition to physical rust I have to also remove the rust mental is unacceptable as my arguments are slow, are far off the times when I select the school triumphs at the Olympics giving math monster coming off the rest of the school
you say I'm self-celebration? eh Okay, after years of humility every now and then I fantozziana also enhance a bit ', or else by dint of saying that they are not anything special to convince us so I end up and what is bad. After you have deleted my ego for years, I decided to get it back a bit 'out (not that he intends to reach the excesses of my childhood, what the fuck I was hateful - even if I was right cmq: P)
my interest x cooking grows ever more ... although it is lazy and does not put me to cook very often (even when they are alone because there is no satisfaction to hear someone tell you "that's good!"), I am interested more and more recipes, preparations ... sometimes without realizing I dwell on the various food programs that populate the television landscape, especially in the morning, as if I were a housewife devoted to housework.
On the other hand I have the spirit of artist as well as the scientific one (hey, I think Leonardo da Vinci's my ideal model: D) and the kitchen is one of the most refined art. Living in a state master in this art, and a region with strong pur'essa mainstays in this business, my artistic side and my anchela voluptuous throat pushing me more and more into this vortex.
Even when I go around the windows of snubs ammeniccoli different clothes and shoes (I find them boring: P) but I remain haunted by a bakery or a deli: O ° ° ° ° Then
back from holiday to Genoa, where my aunt a thousand rumors told me that when he worked for the confectionery Preti, and the old management had lower production volumes but a high quality production.
Well, describing in particular the difficulty of preparing a good chocolate (and who ddic "a brand that is the other" is stupid: D), told me of how the chocolate tastes just made that virtually no one knows the world outside of those working in the confectionery industry with high quality. So much so that I could not appreciate as much of + the chocolates that are around, even ones as heavenly as the Lindt.
is comparable in a sense the taste of fresh milk, that tried by myself - a very different planet.
As a good fan of the authenticity of flavors, sooner or later have to find a way to sample the chocolate "just made" at the cost of ninja style infiltrate the factory.
Going back to the authenticity of flavors, but what is hard to find good fruit? What sucks is located in supermarkets, as well as that found in 99% of fruit and vegetable markets. Maybe not even taste the uninitiated there are case (bitter accomplices fast food in general and the collapse of the food culture among Italians - one of the greatest dramas of national history), but I have the palate late, and above all the fruit I have good heard.
But I say, after eating (now many years ago; _;) of ripe apricot tree without strange treatments, how can I even try those that you buy ingiro? theoretically the apricot is my favorite fruit, but those who are around I do not like, oh I feel just like crying in front of all the disdain of delight that a true copy of that fruit is _; also
xi tomato is a drama, if they are not always good, now they are all bland, bitter, mashes anonymous. One of the best known of my stay it was the Genoese dinner Tuesday at the home of Prophecy where I could finally after a long time (years?) Davero eat some delicious tomatoes, oh, I was no longer in the skin, never stop eating them!
We believe that the eating habits of Italians are getting worse and eat fewer vegetables, because now salads, vegetables and fruits that are in turn will make a disgust to the palate and the soul too!
If he had all the quality of what I ate once would lead a much more balanced diet without sacrificing the pleasure of good food. And attention, saying "once" I do not speak to me feel old or that it is precisely that in the last 15 years there has been a steep fall in the average qulaità food, more and more industrial and economic policies, less quality control, and everything will be added to the EU that the Italian food heritage was worse than the Hun.
If you come to the end and you are a gourmet, you may have won a dinner prepared by myself, in a later date (far: P)
I'm back here.
Where to start?
Spring is coming, hence the plant blooms on my side: D
He called me the other day an old friend of mine (of which in the past, among other things, I was obviously overcooked without being returned as happens to me ... ^^;;), always we met in a long time and finally convinced me to do what I wanted to take several months but I always returned: start running back to a physical form that I have lost for eons ... this morning and then wear the suit and go running together. She runs
three years ago and now is nothing like an hour in a row, after 10 minutes I already weirs, lol, humiliating enough (though in reality after two years of complete inactivity I did well too)
now the important thing is to continue consistently, even a little at a time ... and maybe sooner or later I'll get to have a shape at least acceptable, it will be frustrating thinking about my former glory, maybe you will not believe no one here but in 14-15 years I was a force of nature, like lightning ran, I ran long, ran well bringing other people on his shoulders ... I was a rock .... and now I am a jelly bleargh me I suck, lol
addition to physical rust I have to also remove the rust mental is unacceptable as my arguments are slow, are far off the times when I select the school triumphs at the Olympics giving math monster coming off the rest of the school
you say I'm self-celebration? eh Okay, after years of humility every now and then I fantozziana also enhance a bit ', or else by dint of saying that they are not anything special to convince us so I end up and what is bad. After you have deleted my ego for years, I decided to get it back a bit 'out (not that he intends to reach the excesses of my childhood, what the fuck I was hateful - even if I was right cmq: P)
my interest x cooking grows ever more ... although it is lazy and does not put me to cook very often (even when they are alone because there is no satisfaction to hear someone tell you "that's good!"), I am interested more and more recipes, preparations ... sometimes without realizing I dwell on the various food programs that populate the television landscape, especially in the morning, as if I were a housewife devoted to housework.
On the other hand I have the spirit of artist as well as the scientific one (hey, I think Leonardo da Vinci's my ideal model: D) and the kitchen is one of the most refined art. Living in a state master in this art, and a region with strong pur'essa mainstays in this business, my artistic side and my anchela voluptuous throat pushing me more and more into this vortex.
Even when I go around the windows of snubs ammeniccoli different clothes and shoes (I find them boring: P) but I remain haunted by a bakery or a deli: O ° ° ° ° Then
back from holiday to Genoa, where my aunt a thousand rumors told me that when he worked for the confectionery Preti, and the old management had lower production volumes but a high quality production.
Well, describing in particular the difficulty of preparing a good chocolate (and who ddic "a brand that is the other" is stupid: D), told me of how the chocolate tastes just made that virtually no one knows the world outside of those working in the confectionery industry with high quality. So much so that I could not appreciate as much of + the chocolates that are around, even ones as heavenly as the Lindt.
is comparable in a sense the taste of fresh milk, that tried by myself - a very different planet.
As a good fan of the authenticity of flavors, sooner or later have to find a way to sample the chocolate "just made" at the cost of ninja style infiltrate the factory.
Going back to the authenticity of flavors, but what is hard to find good fruit? What sucks is located in supermarkets, as well as that found in 99% of fruit and vegetable markets. Maybe not even taste the uninitiated there are case (bitter accomplices fast food in general and the collapse of the food culture among Italians - one of the greatest dramas of national history), but I have the palate late, and above all the fruit I have good heard.
But I say, after eating (now many years ago; _;) of ripe apricot tree without strange treatments, how can I even try those that you buy ingiro? theoretically the apricot is my favorite fruit, but those who are around I do not like, oh I feel just like crying in front of all the disdain of delight that a true copy of that fruit is _; also
xi tomato is a drama, if they are not always good, now they are all bland, bitter, mashes anonymous. One of the best known of my stay it was the Genoese dinner Tuesday at the home of Prophecy where I could finally after a long time (years?) Davero eat some delicious tomatoes, oh, I was no longer in the skin, never stop eating them!
We believe that the eating habits of Italians are getting worse and eat fewer vegetables, because now salads, vegetables and fruits that are in turn will make a disgust to the palate and the soul too!
If he had all the quality of what I ate once would lead a much more balanced diet without sacrificing the pleasure of good food. And attention, saying "once" I do not speak to me feel old or that it is precisely that in the last 15 years there has been a steep fall in the average qulaità food, more and more industrial and economic policies, less quality control, and everything will be added to the EU that the Italian food heritage was worse than the Hun.
If you come to the end and you are a gourmet, you may have won a dinner prepared by myself, in a later date (far: P)
Subscribe to:
Comments (Atom)