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!
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