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. "
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