FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Martyn Heyne

Fractured Air x Blogothèque – S02E07 | July mix

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July saw the highly-anticipated return of world-renowned French composer Colleen (aka Cécile Schott) with her achingly beautiful new single “Separating”, taken from the forthcoming “A flame my love, a frequency” out October 20th via Thrill Jockey. On her new album, Schott’s viola da gamba – used on her last two records “Captain of None” and “The Weighing Of The Heart” – is replaced by solely electronic instrumentation: Moog pedals and Critter and Guitari synthesizers. The result is yet another otherworldly, far-reaching sonic odyssey from this visionary solo artist.

Following on from last year’s exceptional debut mini-album “Shady & Light”, Hamburg-born and Berlin-based multi-instrumentalist and producer Martyn Heyne has unveiled his stunning new single “Carry”, taken from the forthcoming solo debut album (coming out later this year on the neo-classical imprint 7K!). The divine guitar-based compositions crafted by Heyne carves out a ceaselessly rich listening experience for the here-and-now.

Elsewhere on July’s mix we have new releases from Montreal composer Kara-Lis Coverdale (Boomkat Editions), Four Tet’s new single “Two Thousand And Seventeen” (Text), Daphni’s new fabric live set, Los Angeles composer Kaitlyn Aurelia Smith’s lead single “An Intention” (taken from the forthcoming Western Vinyl release “The Kid”), Jane Weaver’s krautrock-flavoured latest opus (Fire Records), Snake Eyes (the current house band in the new Twin Peaks) and UK psychedelia courtesy of Ulrika Spacek.

Fractured Air x Blogothèque – S02E07 | July mix

 

To listen on Mixcloud:

https://www.mixcloud.com/Fractured_Air/fractured-air-x-blogothèque-s02e07-july-mix/

 

01. Gil Scott-Heron“The Revolution Will Not Be Televised” (BGP)
02. Shabazz Palaces“Welcome to Quazarz” (Sub Pop)
03. Danger Doom“Mad Nice” (feat. Black Thought & Vinny Price) (Lex)
04. Robert Wyatt“Shipbuilding” (Rough Trade)
05. Dean Blunt & Inga Copeland “2” (Hyperdub)
06. Patricia“I Know The Face, But Not The Name” (Spectral Sound)
07. Barbara Morgenstern + Werkstatt“Grow” (Monika Enterprise)
08. Four Tet“Two Thousand and Seventeen” (Text)
09. Daphni “Poly” (Fabric)
10. Om Alec Khaoli“Enjoy It” (Awesome Tapes From Africa)
11. Marijata – “I Walk Alone” (excerpt) (Mr Bongo)
12. Visible Cloaks“Terrazzo” (feat. Motion Graphics) (RVNG Intl)
13. Kaitlyn Aurelia Smith“An Intention” (Western Vinyl)
14. Avey Tare“Season High” (Domino)
15. Deru“1979” (Friends Of Friends)
16. Brumes“Backward Hands” (Dauw)
17. Ulrika Spacek“Mimi Pretend” (Tough Love)
18. Jane Weaver“Did You See Butterflies?” (Fire)
19. Trouble“Snake Eyes” (Sacred Bones)
20. Donnie & Joe Emerson“Baby” (LateNightTales)
21. Balmorhea“Clear Language” (Western Vinyl)
22. Mary Ocher“To the Light” (Piano Version) (Klangbad)
23. Marcus Fjellström “Aunchron” (Miasmah)
24. The Durutti Column“Sketch For Dawn (I)” (Factory)
25. Martyn Heyne“Carry” (7K!)
26. Kara-Lis Coverdale“Grafts” (excerpt) (Boomkat Editions)
27. Colleen“Separating” (Thrill Jockey)

Compiled by Fractured Air, July 2017. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

http://www.blogotheque.net/
https://fracturedair.com/

Fractured Air x Blogothèque – S02E04 | April mix

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fracturedair_april17April’s mixtape opens with “I Can’t Find Water”, album opener for Hauschka’s latest full-length “What If”, yet another monumental and sprawling opus courtesy of the Dusseldorf-based artist Volker Bertelmann. Recorded mainly in Berlin with Francesco Donadello, “What If” gloriously mirrors Hauschka’s own transcendental live performances, where worlds of both analogue and digital (a mixture of various synthesisers, grand pianos, player pianos and percussive instruments) effortlessly interweave in scintillating long-form compositions. “What If” is the sound of a producer as much as a pianist, confirming Hauschka as one of brightest burning jewels in independent music today.

Berlin-based and Stockholm-born songwriter Molly Nilsson releases her much-anticipated new full-length “Imaginations” this May, the follow-up to 2015’s stunning “Zenith” LP. Night School Records have also been busy re-issuing Nilsson’s back catalogue in recent times, most recently with the re-issue of her breakthrough second LP “Follow The Light”.

One of the year’s most staggering releases comes (once again) courtesy of James Leyland Kirkby’s The Caretaker project. “Everywhere at the end of time” is the epic six-album odyssey (April saw the release of “stage two”) which will take three years to conclude. The series draws upon the conceptual framework of dementia, and how the disease impacts the mind and memory. In the words of Kirkby: “The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.”
April’s mixtape also features a selection of new releases from: Clark’s “Death Peak” (Warp); Forest Swords’ “Compassion” (Ninja Tune); Nan Kolè’s “Malumz” EP (Black Acre); Mary Lattimore’s “Collected Pieces” (Ghostly International); Homeboy Sandman’s “Veins” (Stones Throw) and Mount Eerie’s “A Crow Looked At Me” (P.W. Elverum & Sun).

Fractured Air x Blogothèque – S02E04 | April mix

 

To listen on La Blogothèque:

http://www.blogotheque.net/2017/04/27/fractured-air-x-blogotheque-s02e04-april-mix/

 

01. Hauschka“I Can’t Find Water” (City Slang / Temporary Residence)
02. Forest Swords“Arms Out” (Ninja Tune)
03. John Hassell“Miracle Steps” (Optimo Music)
04. Clark“Catastrophe Anthem” (Warp)
05. The xx“A Violent Noise” (Four Tet Remix) (Young Turks)
06. Talaboman“Samsa” (R&S)
07. Nan Kolè“Bayefal” (Black Acre)
08. Vex Ruffin“Front” (Stones Throw)
09. Homeboy Sandman“Bamboo” (Stones Throw)
10. Chromatics“Circled Sun” (Italians Do It Better)
11. Bibio“Feeling” (Knx Remix) (Warp)
12. Dunkelziffer“Colours and Soul” (Emotional Rescue)
13. Lewis Furey“Lewis is Crazy” (Aquarius)
14. Scott Walker“Montague Terrace (In Blue)” (Philips)
15. Angelo Badalamenti“Love Theme” (Mulholland Drive OST, Milan)
16. Mount Eerie“Toothbrush / Trash” (P.W. Elverum & Sun)
17. Dinah Washington & Max Richter“This Bitter Earth / On the Nature of Daylight” (La French OST, Gaumont, Légende Films)
18. Vashti Bunyan“If I Were” (FatCat)
19. Mary Lattimore“We Just Found Out She Died” (Ghostly International)
20. Leandro Fresco and Rafael Anton Irisarri“Cuando El Misterio Es Demasiado Impresionante, Es Imposible Desobedecer” (A Strangely Isolated Place)
21. Orcas (with Martyn Heyne)“Into the Night” (Soundcloud)
22. Molly Nilsson“A Song They Won’t Be Playing On the Radio” (Dark Skies Association / Night School)
23. Helado Negro“Runaround” (Alternate Mix) (RVNG Intl)
24. Julia Holter“Lucette Stranded On the Island” (Live at RAK) (Domino)
25. The Caretaker“The way ahead feels lonely” (History Always Favours The Winners)

Compiled by Fractured Air, April 2017. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

http://www.blogotheque.net/
https://fracturedair.com/

Chosen One: Nonkeen

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Interview with Frederic Gmeiner & Sepp Singwald (Nonkeen).

“I think these are the moments which we are searching for where you dissolve in the music with the others.”

—Frederic Gmeiner

Words: Mark Carry

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In the liner notes of 2011’s ‘Felt’ full-length, Nils Frahm describes how “the music becomes a contingence, a chance, an accident within all this rustling.” It is precisely this important factor – the role of chance – that lies at the heart of the many monumental works of the Berlin-based composer, not least the latest awe-inspiring project, dubbed Nonkeen – unveiled at the beginning of 2016 – with his childhood friends, Frederic Gmeiner and Sepp Singwald.

The trio’s shared fascination with the powerful possibilities of sound would mean their childhood days were spent experimenting with tape machines, whose inception was the birth of a playground radio show in the suburbs of Hamburg. The utterly beguiling debut full length release, ‘The Gamble’ – released on the prestigious R&S label – unfolds a divine pathway to notions of space and the cosmos. The hypnotic lead single ’Chasing God Through Palmyra’’s looped electronic beat offered the first glimpses into the other-worldly sound world of Nonkeen. The dazzling cut could have been taken from Scottish duo Boards of Canada’s ‘Geogaddi’ LP such is its eternal magical bliss.

A parallel that bridges Nonkeen and the renowned electronic producers is their (shared) compulsion to “uncover the past inside the present”. An entire spectrum of sounds – jazz improvisation, pop hooks, electronic mastery, ambient flourishes and post-rock euphoria – awakens from the very compositions captured on ‘The Gamble’ and its eagerly awaited (and appropriately titled) follow-up, ‘The Oddments of the Gamble’.

The shimmering seas of summer are somehow transplanted across the sprawling canvas of ‘Diving Platform’, one of the band’s crowning jewels (taken from ‘The Oddments of the Gamble’). A gorgeous haze of reverb-soaked Rhodes and pristine electric guitar tones (supplied by special guest guitarist Martyn Heyne) dissolves into a myriad of fleeting moments as waves of transcendence washes over you. The pulsating ‘Glow’ contains a deep groove and shape-shifting rhythms that feel like remnants of a faded dream. Elsewhere on the record, trusted friends & collaborators, Andrea Belfi, Peter Broderick and Martyn Heyne each add their distinctive musical hand-print to the trio’s scintillating odysseys.

Nils Frahm’s sold-out Barbican show earlier this month – as part of the captivating ‘Possibly Colliding’ marathon weekend, curated by Frahm – felt not only like a celebration of the visionary artist’s cherished songbook (thus far) but rather a distillation of the most ground-breaking moments of today’s contemporary music scene. The angelic, hushed solo piano pieces were interwoven with the sprawling and sublime synthesizer-led pieces and many live collaborations – cellist Anne Müller, Nonkeen with the addition of gifted drummer Andrea Belfi, London-based vocal ensemble Shards, and the André de Ridder-led stargaze ensemble – rendered new versions of Frahm’s towering body of work and offered new insights into the gifted composer’s sonic sphere. Nonkeen is one vital part to this sphere wherein Frahm and his close friends continue to blur the boundaries of what is attainable. Perfecting sound forever.

 

‘The Oddments of the Gamble’ is out on 15th July 2016 via R&S Records.

http://www.nonkeen.com/
https://www.facebook.com/nonkeen/

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Interview with Frederic Gmeiner & Sepp Singwald (Nonkeen).

I’d love for you to discuss the wonderful story behind Nonkeen – and how you’re all childhood friends – and your experiments with sound using tape recorders and your shared fascination with sound?

Frederic Gmeiner: From the material on ‘Oddments of the Gamble’ and ‘The Gamble’, the oldest tape is maybe eight years old that we used for the albums now. But before we were also playing together but very loose – just in the rehearsal space when we had time to play together. So in the evening somebody would call, ‘do you have time tomorrow? So let’s meet. Is the room available? Yes, it is, so let’s go there and play’. So, over the years the rehearsal spaces changed because we had to leave one in a hurry because the owner wanted to do something in the building and stuff like that. So you might call it also accidents that happens which you have to deal with but we always kept on being inspired by this band. But we didn’t even call it a band because it wasn’t such a thing; we never organized a concert for example – friends were inviting us and I don’t know how old we were, we were very young – when we were playing together from time to time and people knew you were playing in a band so they asked ‘do you want to play here and there?’ and so it happened.

I could see also how when we were younger, we were maybe not fearless but we didn’t think much about it. We were playing the stuff that we were inspired by or listening to anyhow and since it was a Fender Rhodes, 70’s amp and electric bass and 90’s drums with the 70’s sound – drum set drums [laughs] – and we were playing music that when we were listening to it, you could pretty much tell what the influence was straight away like this sounds like Soft Cell for example. We found it like crazy music and automatically we were eager trying this out and topping each other you know and trying to show off in a way. But over time by listening to the stuff that we recorded – I mean at the beginning we never recorded rehearsals we were just recording when we were playing live – and then listening back to it, it was always nice but you could always tell like “oh, this sounds like this, for example” and so over the years we got more and more defined in finding your own sound.

We were curious about these moments that we kept on tape where we were saying like “I don’t remember us playing that actually” and “I don’t know, when was it? Five years ago?What instrument is it? Who’s playing that?” And also the music and these moments, somehow I can’t get it out of my head and you’re listening to it back and back. We never took it out with us home, we always just listening all three of us together when we were meeting. I mean sometimes there might have been a month in between when we were listening to the stuff but we were then picking again these passages up when we were all saying “From the last session I remember this” and “Yes me too, and it was somehow stuck in my head” so it all came together somehow.

It’s cool how it was almost like a listening exercise where you build a library and subconsciously in a way, you’re agreeing on a certain direction or type of sound. I can imagine that was either the most difficult part of perhaps most exciting? Also, I wonder would you be adding counterpoint sections present-day to recordings that you had made previously?

FG: It is hard in a way to come to a mutual agreement, it is true but we had time and there was no target; none of us were even thinking of making an album while doing that. It was just out of curiosity so that was easy in a way. But of course if you’re going to have a record contract back then which would say ‘next year you have to do an album’ that would be problematic of course. It would be much more like ‘OK guys, I know you don’t like this but let’s go for it, you know’ but it wasn’t like that.

Sepp Singwald: We didn’t analyse it so far that we’d have to find a counterpoint to this or to that. We always played what we wanted to play and in the very, very end after eight years we combined it.

‘Chasing God Through Palmyra’ is a very special recording of yours [from ‘The Gamble’]. Deconstructing it, is that a sample that is looped continually throughout?

FG: Yes, it’s all from the rehearsal space and from the tapes. We were playing around with the material in a way that we were more sequencing stuff. There was a drum machine running in the rehearsal space, it was just there and so we were plugging it in and trying it out.

SS: So we had a Gretsch and made it loud.

FG: Then putting it on a big tape machine to basically use it as just a compressor but we pitched it down so it became this wobbling, moogy, tribal-ish, techno-ish thing which we were inspired by. But all of these things coming together was a real coincidence and we could never re-do this. That’s also why on tour it was problematic to play this. For us we were really confronted with a decision, shall we play it or not.

SS: Should we try best to be as a computer?

FG: Exactly because without the drum track – without the electronic drums – it would lose its preciseness and none of us are playing like a machine so we had to compete with a machine basically. It was very frustrating for us to put on a beat and just play synthesizers so we said ‘we’re not playing it’. But we were thinking it’s a nice track, people know it so we should somehow play it. So then we came up with the idea to put it on a record onstage so in the middle of the set in the front of the stage there was a record player and we were setting up the record and serving drinks to the audience and making maybe a few foolish jokes but then we would continue to play the songs [afterwards]. I mean it’s unconventional – you might also say why are you doing this? – but it’s exactly the reason why we did it because we wanted to play it but we didn’t want to compete with a machine onstage and lose [laughs]. And being so over-concentrated on following it and being precise because it is the preciseness that makes electronic music is just one example.

It must have been a totally new perspective for you when it came to touring and playing live shows? And also how the trio was joined by Andrea Belfi on drums, it must have added new elements and perspectives when the group were now a four-piece?

FG: I mean for the first time in playing together, we were confronted with a situation that we had to practice, that we had to prepare something for playing and not just for a single evening but for twenty evenings in a row. So we couldn’t use our method that we used before saying like OK let’s maybe define a little bit and go onstage and play together because it would be way too intense to – and way too long also – to come up every night with this uncertainty and play with it. Maybe it’s also possible, I don’t know. On the other hand, if we were to completely streamline it and plan it until the last sound and note and moment, maybe it would become boring for us and also for the audience, it’s always like that.

So we were looking at it because we knew the songs also so well after working with them for such a long time – not playing them but just listening to them, editing them and making overdubs – they were inside us already, we could just make interpretations of them. That worked very well I think and it also helped us as a band to deal with more diverse situations because every night is different, every room is different, the spirit, the mood of the audience: are they sitting or are they standing, are they more reserved, it makes something with you. Also does it feel like in a rehearsal space on a small stage or is it a huge hall where you have big reverb and you don’t hear each other very well. Things like that and all these situations helped us a lot I think. Now I am very curious to go back to the rehearsal space after that experience and that learning process.

I love also with these two albums is the wide range of sounds and influences, there’s jazz, post-rock, electronic, ambient, krautrock that all really effortlessly ebbs and flows into one another. The sequencing of the albums was also an important factor I imagine?

FG: Also what I think developed from the live set was exactly these counterpoints and to sometimes let loose and have moments where you don’t know really yourself where you are and you just have to let yourself fall down and trust that all will turn out good in the end. And there are more parts that are more defined and precisely arranged. But I think it is right – I see it as well – I think a single track doesn’t make much sense but it’s always the combination of them and how you put them together which makes it interesting.

I love how the new album represents an entirely new chapter too. It doesn’t feel like a sister album but rather it feels like a new point in time. For example, the lead track ‘Diving Platform’ with the gorgeous guitar parts, it feels more direct and immediate.

FG: It’s more easy-going I would say. We always have this vision of a perfect summer day, driving a nice car or a bicycle in the countryside and the wind is coming and you just want to dive.

SS: It was with the first bass drum you see someone jumping from a diving platform into a lake.

FG: I think most of the sessions we had because when we went into the rehearsal space we didn’t know what would happen and often I mean you have other things in life and sometimes you have a good day and sometimes there are bad days, sometimes you are more energetic and sometimes you are a bit more tired, sometimes you’re patient to listen to something, sometimes you’re not. It was like a meditation thing and often sessions were sounding more like the music I think on ‘The Gamble’ but there were some sessions that were more like on ‘Diving Platform’ for example. This is like an excerpt; we were playing it for like thirty to forty minutes and there was this thing developing. And it always starts like that; someone is playing a beat or on the Rhodes or on the synthesizer or the bass and you all just start.

SS: It came up by fooling around and just make some fun but then OK we’re really playing this kind of track so let’s go for that and I had a big moustache in my mind and we are all smiling.

Do you think it was a difficult decision to release the second album so quickly after the first one and to decide on what goes onto it?

FG: As I said, we didn’t plan to release an album for such a long time – we didn’t even have a name – and then this all happened and we were all wowed by this warm reception and the feedback and now with this live tour that we thought let’s also share this other album basically and not to wait. And of course strategically or marketing-wise, I don’t know maybe you should wait or whatever and no one told us that so it was more like it’s great, I might like it even a bit more than ‘The Gamble’ [laughs] so let’s release it and so that’s basically how it was, nothing more or less. But I think that’s also good not having something in the drawer to hold back and you’re always waiting until this gets out. You put it out and then you have no cards left, you have to make new cards that you can play.

SS: And even to wait another seventeen days feels long. Actually because it is there, it’s got a cover, I want everybody to listen to it and get the feedback.

FG: It is strange because back then we didn’t have anything on vinyl or cd or to download or to sell, if someone was interested, we would just give them some music for friends, so now there’s a release date and it’s all interesting. But this is also new for us because it makes it more a band of course, this process like doing interviews and preparing for a tour, touring and doing band photos and stuff like that and thinking about music videos. It’s all great and fun but it’s not making music [laughs], it’s something else, you know. It’s new for us in that context, I mean everyone has their other projects. Seeing it also sometimes a bit sceptically, thinking will our innocence be gone afterwards? But I think going back to the rehearsal space and taking time because that is what it is; it’s a gift for all of us, we all have other things in life where we make a living out of it but Nonkeen is not about that. Luckily we have all the time in the world, if it takes ten years now for the next album and to go on the next tour but you don’t know, chance will tell.

I love how there is that DIY ethos at the heart of Nonkeen too where there is nothing pre-conceived or anything like that. And as you said, it’s completely music you’re just making for yourself without ever considering the audience?

FG: I mean it’s really like that. When we had the tracks and we were saying: “Oh this is finished and we don’t have anything to add” but really we had no idea if other people would like it or not. It’s different to say oh it’s OK to like something, it’s really interesting. It took so long like distilling alcohol again and again just to get the essence which was for us because it was so close to our heart always, we were taking our time and working on it as long as it needs without any rush. But you don’t know how others would perceive it and for us I think the most wonderful thing was and is, what people hear in it because I would always love to listen to that music without having heard it before. For the first time if someone played this to me and said, here have you heard this, listen to it but that’s not possible because you know that stuff but that must be great somehow.

SS: It’s like standing onstage and playing, I would often like to ‘snap’ and sit in the audience and see everything and listen.

FG: It’s really, really great and we’re really happy about it that there is so many people listening to it and also come up with so many references and often also very true. And often people say Boards of Canada, it’s a huge influence on us but it’s other instruments and stuff. Of course it’s maybe inherent in the music because we are so inspired by them but if someone had asked us ‘how does your music sound’, we would never say ‘yeah like Boards of Canada’, we would never think about this association. For me of course, it is so far away somehow but it is a great honour and it is what it is, we are all inspired by things.

There’s something special about a trio. I wonder would you ever individually come up with something like a sketch or idea and then come to the rehearsal space where the three-piece would flesh it out?

FG: I think that when we go to the rehearsal space – I mean except now preparing the tour but all the years before – it’s really interesting that we never really talked about music, I mean we didn’t talk about our music. It was never like ‘hey guys, I have this song, let’s play this’ or ‘I think we should sound more like this’. It never happened because I think we would have failed [laughs]. It’s more I think of finding a style in the way of making music together that we all feel comfortable with, technically and emotionally and seeing it as a whole thing basically. I think these are the moments which we are searching for where you dissolve in the music with the others. In that moment you don’t think anymore, it’s just this and you’re completely enjoying it. And then when you listen back to it a year later, you couldn’t even remember that moment where we’re like, is it us playing this?

It’s a very intimate thing but I think these moments you can’t plan, it’s as simple as that and I think we realized that from a very early stage. For all of us it is the most important thing that we will have is continuing these moments, no matter what. No matter if we release any albums or going on tour because this is the most important thing, to play together and Nils has so many other projects and you [Sepp] also, it’s not about not being able to play. But I think what we are always curious about is finding these moments where you dissolve and where it’s not about you, it all has to work as a whole thing, it becomes its own creature somehow.

And that’s the thing too where it’s not the first album in isolation. Suddenly you have a body of work now quite quickly, there’s a narrative now flowing and where you can see down the line nearly. I loved the 12″ vinyl release too where you can pick the desired speed to play the tracks on.

FG: I mean in the end again like with that decision why would you put both tracks on a single but it’s because of that; it happened by playing around with a tape machine and by pitching it and this is something you can also do with a turntable or record player, so why not using the medium and giving it out to everyone to try it out. It is really about always deciding on what makes sense. And now with these two albums we made a trajectory that we have to follow because that is a style that everyone is expecting. I don’t know but maybe the next album will be something completely different. Let’s see.

‘The Oddments of the Gamble’ is out on 15th July 2016 via R&S Records.

http://www.nonkeen.com/
https://www.facebook.com/nonkeen/

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July 14, 2016 at 2:17 pm

Track Premiere: Martyn Heyne (Efterklang)

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In my mind a composition is never finished because nothing keeps me from playing it differently next time.

Martyn Heyne

 

 

Shady & Light’ is the debut solo release from renowned German musician Martyn Heyne. Born in Hamburg, the Berlin-based composer studied at Holland’s Conservatorium van Amsterdam. His home studio, Lichte – based next to Berlin’s Tempelhof (former) airport has been the chosen recording space for artists including The National, Nils Frahm, Lubomyr Melnyk, Peter Broderick and Efterklang. In addition, Heyne was a touring member with Danish group Efterklang during their 2013 ‘Piramida’ tour (and parts of their final album was worked on in Lichte).

The album opener ‘Telepath’ flickers with golden dawn’s glistening rays as soothing guitar tones meld effortlessly with luminous beats, conjuring up the timeless sound of Finnish duo The Gentleman Losers and Keith Kenniff’s Helios project. The master composer crafts such singular melodies with meticulous detail buried deep within the sonic terrain of ambient-infused-modern classical flourishes. The sparse lament of ‘Sparks’ proves another defining moment, in which radiant waves of nostalgia seeps into the forefront of the mix. ‘Sparks’ belongs in a stratosphere whose axis points between Keith Jarrett’s live solo recordings and the collaborative works of Tape & Bill Wells.

A glorious rise of ambient flourishes permeates the krautrock-tinged ‘Brandung’ with scintillating synthesizer passages and meditative electric guitar pulses. ‘The Gathering’ – despite its short length – exudes a wall of emotion that echoes the ambient works of Harold Budd with pristine reverberated guitar tones fading onto the sun-lit horizon. The album’s towering penultimate track ‘Monoment’ somehow transposes Nils Frahm’s piano to the guitar instrument: the transcendent sound world of synthesizers, drum machines and guitar fuse together, evoking the ‘Spaces’ live document of Heyne’s close colleague.

Shady & Light’ will be exclusively available from martynheyne.com from 27th May 2016.

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Interview with Martyn Heyne.

Congratulations on the truly gorgeous debut mini album, ‘Shady & Light’. I would love to gain an insight into your compositional approach when creating these intricately beautiful guitar-based pieces? 

Martyn Heyne: Thank you very much! As you say, each piece is centred around a single electric guitar performance – that’s my compositional frame work. From there I add all the other things because I love sounds and finding spaces for them! I tend to have the musical idea in the master take and then base the arrangement on sonics. The instrumentation is often part of the Mix too. For example, when high frequencies are lacking I might add a cymbal rather than use EQ.

Your sonic canvas of guitar, synthesizers and a drum machine is a joy to savour. In terms of the instrumentation, would many of these tracks originate from a guitar-based improvisation? As this is a debut solo EP –although of course you have a significant body of work behind you among the many wonderful and diverse collaborative projects in the past– do these musical compositions all originate from the same space in time?

MH: Yes, the compositions are usually distilled improvisations on guitar or piano. Even when I start on one instrument I will bounce over to the other for a moment just to see what that might say about the music. In my mind a composition is never finished because nothing keeps me from playing it differently next time. I try to listen to where it wants to go until I have a real favourite route through the music. So yes, the simmering nudges details into place. 

Can you please recount your memories of composing ‘Sparks’, Martyn? This is the piece we are honoured to premiere on our site. The delicacy of the piece immediately strikes you and indeed the gracefulness of this divine sonic canvas that gradually unfolds.

MH: Thank you very much! With this track I applied the approach of my classical studies to the electric guitar. I love how a more classical technique allows the guitar to be like a vibraphone or any keyboard instrument. Chord and melody, notes attacking at the same time (as opposed to strummed), countering bass lines – those are the gaps I’m forever trying to bridge. By the way, the original title of this one was the smell of campfire in our sweaters.

The Lichte studio is steeped in history with such an inspiring array of musicians and close collaborators of yours all recording here over the years. I would love for you to discuss this particular space, Martyn and explain the reasons as to why (or perhaps how!) the acoustics and sound world captured in these walls are so special? Please talk me through the studio techniques you have developed and processes you favour when it comes to making/recording music in the Lichte studio?

MH: One thing I can think of is that the studio is very informal, as it’s located in my flat, and maybe more neat and calm than studios generally are. Many of the common recording pressures don’t apply to a session here which can make all the difference. My main focus is always on performance and content because they translate most through all kinds of listening environments. I am surprised how often people sing into a 10k microphone with a crackling distorted Behringer headphone sound. It brings uneasiness to the performance. In my philosophy the monitoring situation is just as important as the recording chain because the take will shine through more than the mic.

My current favourite is the penultimate track, ‘Monoment’. As the sound world of synthesizers and guitar meld effortlessly together, I feel a perfect symmetry exists alongside the works of Nils Frahm, (more particularly your guitar becomes a mirror of Nils’s piano, creating such moving and enveloping sounds!) I also love the sequencing of ‘Shady & Light’, where the more synth/drum machines come to the fore during the final section after beginning with fragile and barer guitar instrumentation.

MH: Thank you so much! In ‘Monoment’ I operate the drum machine in between playing the guitar, which allows me to change the arrangement on the go in a live performance. On top of that I use automation software to create what I call Random Auto Dub (yes, that’s RAD) which sends the drum machine signal kind of randomly into a spring reverb, amp, or tape delays. That way it always does things I don’t expect and I have something to react to on stage which makes the whole thing way more exciting for me!

My friend Anne Braun shot a great video of a concert where you can see how that works (https://youtu.be/AIQ1K537enM). Incidentally, the title Monoment is based on the track being recorded, just like almost all of Shady & Light, in mono.

Your life is steeped in music. Please take me back to your earliest musical memories? What defining moments occurred during your musical upbringing that you feel helped carve out this particular musical path for you, Martyn? Also, please mention any records that provided huge inspiration for you, over the years?

MH: As a young child I just experimented on my mother’s piano using two chromatic modes, symmetrically based around the Ab or the D. When I eventually got lessons, C major came as a real surprise! 

I was lucky to be born in the time where people started buying CD’s, so vinyl and record players were up for grabs and became kids’ toys. I got to play the obsolete space wasters in my room while everyone was busy trying to get their cherished CD’s out of the plastic wrapper! That way I had a record collection all my life, and it still includes my parents’ original Beatles red and blue albums as well as Abbey Road which is possibly my most played record. Other favourites include:

Miles Davis and Portishead. Both masters at getting such direct beauty out of things that are pretty rough around the edges. Also both masters of the band concept and especially the drums in it! 

The Gentleman Losers, the first album. Their sonic vision makes me so happy! My favourite record for after sundown. 

Oasis, Definitely Maybe. The beginning of my lifelong obsession with tape delays, compression and distortion. Unfortunately, the sound of this record also probably started the loudness war because so many that came after didn’t understand that it only works the first time. 

Keith Jarrett, Vienna Concert. This, even more than other solo concerts of him, shows where you can go musically when you go alone. The mobility of it makes it so enticing to me!

Richard Wagner, all the overtures. I imagine, after Paul McCartney walks offstage another 80k capacity stadium, shakes the President’s hand and makes for his limo through a vast sea of picture taking admirers and he’s beginning to worry it might all go to his head a bit – then all it takes is for him to go home and quietly listen through the opening of Lohengrin to firmly place his feet back on the ground. 

Lastly, if you’re DJing at a party, forget all of what I just said and put on Solange’s True EP!

Shady & Light’ will be exclusively available from martynheyne.com from 27th May 2016.

https://www.facebook.com/everynoteisapillow/

Written by admin

May 17, 2016 at 5:37 pm

Chosen One: Lubomyr Melnyk

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Interview with Lubomyr Melnyk.

“In Continuous Music, the piano is your lover, the piano is your slave, the piano is your glorious friend, it is your angelic friend. The piano is sort of like your breathing and it is a beautiful thing. I want every pianist to know that every piano on the face of this earth is their friend, so they do not fear the piano, but come to it with joy and say “My dear friend, let’s make this music.

—Lubomyr Melnyk

Words: Mark Carry (with foreword by Peter Broderick), Illustration: Craig Carry

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“just a quick note on this song . . . this was the very first thing we ever played together . . . Lubomyr was tuning up my piano, making a ruckus, boing, boing! and i was setting up my violin with some pedals and effects, and at one point i asked him if he would mind if i sang over his piano playing . . . and he said sure! so i sat there with a pen and paper and slowly wrote out these lines as he fiddled around with the piano until satisfied. i showed him the words and said, how about if i sing these words? and he took a minute to read them and then looked at me and said, those are really good peter! so then we started recording, and on the album you can hear me say, let’s just see what happens… and then we played that music . . . it was a magical moment, and very encouraging for the days to come with all of our plans at various recording studios.”

—Peter Broderick, describing the recording session for ‘Pockets of Light’, the opener to ‘Corollaries’.

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between two floors
my dreams and yours
 
following a friend
foregoing the end
 

‘Corollaries’ occurred in a sense, by accident. Ukrainian pianist and composer, Lubomyr Melnyk met Peter Broderick and Nils Frahm last year in Cologne, Germany at an ambient music festival. It was destiny that these special souls would cross paths and soon, light was shone on a dream collaboration. This project was given a name – ‘Corollaries’ – and represents a truly beautiful moment in contemporary music. As ever, the Erased Tapes label is responsible for a truly innovative and imaginative work of art. The five pieces of music contained in ‘Corollaries’ is steeped in unerring beauty and human emotion. ‘Corollaries’ is one organic whole-piano music so pure and divine. My heart was immediately taken by Melnyk’s piano compositions, as you become immersed in a sacred dimension, where space and time stands still. This album becomes the very air you breathe; each and every piano note becomes the first and last drop of water on this earth.

In the words of Melnyk: “Nils and Peter really have a beautiful sense of the music. They have an inner vision of things, that suits the music beautifully.” These gifted composers and musicians share a common vision and effortlessly tap into the ambient flow of the sound and space. ‘Corollaries’ was recorded and produced by Peter Broderick with the additional help of Nils Frahm and Martyn Heyne. Each musician adds a new dimension to the sound. A deep connection is formed that resonates beautifully throughout the compelling pieces of music. A musical telepathy exists between Melnyk and Broderick-two gifted composers from different generations, who become one. This is a collaboration in the truest sense. The supreme divinity of Melnyk’s Continuous Music, which he has developed over thirty years, has evolved yet again, exploring new directions and sonic terrain. Melnyk’s sheer joy and unwavering devotion to the piano instrument breathes endless inspiration. As I listen to ‘Corollaries’ I feel the composer’s sacred devotion, and with the touch of his hand on each key of the piano-I have fallen for each and every note.

from the hammers to the ears
we invite our fears

to sing outside
little spaces turn wide

Lubomyr Melnyk is a true innovator. The Ukrainian pianist and composer is the pioneer of Continuous Piano Music, which he has developed and mastered over the past thirty years. In essence, Melnyk has developed a new language for the piano, named after the principle of maintaining a continuous unbroken stream of sound. The Continuous Music is a miracle and is an eternal gift to all who witnesses this remarkable world of sound. He says: “It’s in a sense a tiny little miracle, this seed of a concept of music that actually grew and became what it was.” An array of different elements have led to the development of Melnyk’s Continuous Music. Composers such as Steve Reich and Terry Riley provided huge inspiration that opened up a whole new language in music for the young composer in the late 60′s/early 70′s. As well, being part of the hippie movement in the 70′s, the music of John Maclaughlin, witnessing Jimi Hendrix and realizing this is what a pianist should be able to do. Spiritual techniques, and the martial arts, the Zen and eastern philosophy – these are all just some of the multi-faceted elements that form the foundations to the workings of Melnyk’s Continuous Music technique.

Describing Continuous Music, Melnyk explains: “In continuous music, the music is the slave of the pianist; the pianist reigns supreme”. On ‘Corollaries’, this lies at the heart of the music. A love supreme. The opening ‘Pockets Of Light’ is the distillation of all light’s colours and its beautiful shades and textures. The piano swirls magnificently amidst a gorgeous violin accompaniment. The piano rises and falls, flowing endlessly into your heart’s chamber. The music is so natural. It becomes a part of you. Each movement is a new corner of the world. I think it’s the touch of the pianist that seeps into your consciousness. Melnyk is in fact, the Zen master. As his hand touches the piano he is walking above the ground; standing still in the hurricane. This is a truly magical piece of music that forms a tower of song. Several minutes in, Peter Broderick’s heartfelt vocals melt into the mix of Melnyk’s drifting piano. The ambient flow is so clearly evident. This piece of music amazes me. The lyrics are sheer poetry.


from the hammers to the ears
we invite our fears

to sing outside
little spaces turn wide

The closing section to ‘Pockets Of Light’ contains some gorgeous violin and piano duo work. A fitting close. ‘The Six Day Moment’ is next, which widens the dynamic range. A new world is calling you upon listening to the interwoven piano melodies that ascend into the atmosphere. I feel the composer’s beating heart in every bar of this stunningly beautiful piece of piano music. The piano instrument and Melnyk are one. Let the grace of each note soothe your every aching pore. ‘A Warmer Place’ is a cinematic delight. Soft piano notes are sustained that remain hanging majestically in the air. I am reminded of Peter Broderick’s ‘Float’ album upon this piece’s heart wrenching violin and meandering piano. Film score music, music for the soundtrack to your life. The emotional depth and spiritual realm therein is quite staggering. The piece slowly builds into an outpour of emotion. I feel a sadness, tenderness, and beauty radiating across the strings and piano. A vast ocean of hope breathes beneath the soaring strings, as the piano notes come in slow and soft.

‘Nightrail From The Sun’ is a gorgeous Reich-esque piece, with pulses of urgent piano and found sounds seeping into the slipstream. This music belongs to a new dawn. The instrumentation here is utterly innovative and compelling. Timeless music. Album closer ‘Le Miroir D’Amour’ is achingly beautiful. The dynamic has changed dramatically and a touching lament is beautifully upon us. The piano and violin duet forms one life-affirming whole. The ground upon my feet moves upon listening to the heart wrenching strings and endearing piano. Does music get more powerful than this? A crescendo of swirling piano notes is the sound of the hurricane happening all around you, yet you, the listener remain still and overcome by the beauty. Infinite and divine.

and on the first try
when the keys don’t cry

we find a place
time’s only race

with pockets of light
chasing the night


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(all lyrical excerpts are taken from ‘Pockets of Light’, opener to ‘Corollaries’, lyrics by Peter Broderick)

I wrote to Peter asking if he could send me the lyrics he wrote for the opening song ‘Pockets Of Light’. In addition to the lyrics (which are dispersed throughout this article), Peter kindly wrote a note on this song. That “quick note” is presented here in the ‘Foreword’.

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‘Corollaries’ by Lubomyr Melnyk will be released by Erased Tapes on April 15, 2013.

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Lubomyr Melnyk Interview. 

Thank you very much for the interview. It’s an honour to talk to you.

Thanks for thinking about me and my music.

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I’d love for you to talk about your new album ‘Corollaries’ ; what you set out in the first place, and the theme to the album itself?

Well, ‘Corollaries’ occurred in a sense, accidently; it wasn’t sort of planned, directly not by me anyway. I met Peter Broderick and Nils Frahm back in Cologne, Germany more than a year ago at this ambient music festival; this glorious festival of ambient music. That was the first time we met personally, and then Peter wrote to me and suggested that I come and we do some collaboration. So, I went to Berlin and we recorded a whole bunch of rather short pieces-that I would call short anyway, and that was the creation of the album. But the actual concept of the album is very different from what I have done before. Usually, well all the earlier albums were of very large pieces; often a whole album would be one piece and so this was different because it had a lot of small little pieces in it, and each one is different.

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It’s great because I love all the Erased Tapes artists, and you know, when I found out last year, when it was announced that you had a new album coming out with Peter Broderick. It really sounded really like quite something-even in writing, before ever hearing anything.

Yeah, and for me too, it was a kind of exciting event because I usually don’t play with other people. I have not played and didn’t play with other people. I would do my multi-piano pieces by multi-tracking, so I would do all the piano parts. So, this was a wonderful chance-it was great for me to be able to hear the music with other elements happening into it, and they seemed all very natural. Nils and Peter really have a beautiful sense of this music. They have an inner vision of things that suits the music beautifully, and everything worked together really nicely.

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Yes, I can imagine. It must have been very organic and natural. You probably felt like you have always known each other; just so natural.

Well, actually that’s to their credit because both of them really have a good sense of my music and the dimension of where it’s happening and that whole sense of the ambient flow of the sound and the space that as a musician, we go into a certain space where this music happens. We would immediately go there and be a part of the music. As it seems, totally effortless; it’s like they always belong to that music. For me it was wonderful to work with musicians who contribute things without destroying anything in the music; they simply add new dimensions. That’s really important because sometimes musicians can actually interfere with the music. Peter had suggested one time that there be a whole bunch of musicians coming to play, and you know I thought, I don’t know these people and what’s going to happen. I was worried, because sometimes you have a situation where musicians would interfere with the music. These two guys, and Martyn who also played on one of the tracks, they all just flowed directly in and it all becomes just one organic whole.

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I’d love for you to discuss the Continuous Music; the form you have been developing over the years? 

Well, it’s rather many-sided. Its actual growth and development has many different elements, and I think if you took any of them away then the music would not have existed. It’s in a sense a tiny little miracle, this seed of a concept of music that actually grew and became what it was. When you ask the question, I immediately think of all the elements that went into it; besides me. I’m not talking about elements of myself. I’m thinking about external things that brought something in there. It’s really important and it would not have generated this. People have asked me this and I always think after, I forgot to mention this, so now when you ask, I’m going to say something that probably was missed many times. The obvious things I have not missed: One is the continuous music wave that opened into North America and into Europe as well, during the late 60’s. Steve Reich and Terry Riley; that for me was the opening of a whole new language for music. I know that a lot of people started doing that kind of music. The thing that I think differed for me, right from the outset was that I respected musical technique and mastery as a VERY important element of music. This was evident, I think, when I experienced Philip Glass. I was at a couple of his concerts. This would have been in the early 1970’s. I did not like the level of musicianship for the musicians. It seemed far too simple. It wasn’t challenging enough. That was the reaction that happened for me. I haven’t really mentioned this much before.

It was because of being a hippie always from the very start, that made me aspire to something greater than before…I’m a classical music person; I’m not a rock ‘n’ roll artist. However, the hippies movement opened up that world to me, and that world was multi-faceted. Western musicians lack awareness of the aspect of the master musician who truly mastered their own body and the instrument he is playing, and this connected both in western music and in the east. So there were people like the guitarist, John Maclaughlin who started up the Maharishi band. I was totally, truly amazed by his incredible musicianship, which was very much based on the Indian musicians, like the raga players and things like that. All of that became a very important element in my music because for me, it was very important that I develop my fingers and my mind, and be able to do more and more complex things and go past what piano music is normally considered to be. To go beyond “the Norm” is beautiful, and so these elements were very important for me. When I was in my early 20’s this was a really important element in musicianship for me, and from there, that laid the ground for me to go and develop the Continuous Technique. Without the influence of those hippie years, and John Maclaughlin, and the Eastern raga musicians, I don’t think I would have arrived where I am, as pianist.  But there are more elements of Eastern thought that I just don’t manage to bring in here.

I guess another example of this would be Jimi Hendrix. It wasn’t Jimi Hendrix’s music that affected me but it was his unmatched mastery of the guitar…his touch to the guitar was exactly what a pianist should be able to do. With Jimi Hendrix, when he touches a guitar, it’s no longer a guitar, it’s simply a part of his body and his mind just races off with it. And that’s what I wanted the pianist to be able to do, and in a way it became a secret goal. It wasn’t a sort of flagship in front of my eyes… “Oh that’s my goal”. However I realize in looking back, that yes, that was the inspiration that said: What he can do on guitar, you should be able to do on the piano. But I didn’t think consciously how I could do that, it simply seemed to all come together. Like in our life, we seem to get little nudges, as we’re walking down the road of life, something that just gives us a little push this way and another little push that way. We end up on this road we would never of taken had it not been for all these little nudges. It’s just these little puffs of wind that blew me in the right direction.

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It was lovely to hear that; it was just this natural path that you found yourself on. Something that you said before, that I’ve always remembered, about your mindset – “standing still in the hurricane”.

That is the actual sensation of when you reach, after several years, and you reach a higher level of technique. Then you actually perceive your body being motionless. There is no movement…even though everything is happening very fast. I just want to qualify this. It’s not that every time you touch the piano, this is how it is. This is always the risk when you are describing something. You may isolate a moment and describe it to people and people think: “that’s the way it is all the time”. It’s not. So what I describe is simply things that do occur (and they do occur often) but it’s not like a permanent state. Although in a way it does become semi-permanent because when you start playing the piano; the continuous piano at high level and at high-speed, you must always achieve that state of being perfectly still in this incredible whirlwind. This hurricane is whirling around you but you are in a spot where there’s nothing moving at all. When I play, sometimes I achieve the sense that my arms and fingers are moving but I am not in that movement. My whole body is standing still in another dimension, and the sound is simply happening.

There’s a scene in a film. If people want to see what it is like to actually play in the higher levels of continuous piano. There is a film called ‘Hero’ by a Chinese director. It was made ten years ago, perhaps more. It is part of that wave of films focusing on Kung Fu and the martial arts. The film is remarkable, truly remarkable. The cinematography: it’s a masterpiece as cinema. However, philosophically it is the only film that actually presents true nature of the martial arts and what the Master is actually about. It is very connected to the Zen, eastern philosophy and everything of that nature…that what happens in the real world is happening in your mind. There is a scene there which shows the True Masters (a man and a woman), they are mythical masters but they are real. We westerners must understand that this is not fantasy. This is actually reality. What the film is showing is real. It is not like the stupid Hollywood fantasies like the X-Men etc. These masters are true and the film describes them where they climb to the roof of the temple school where they live. The temple where the students are studying is under siege by the army of the emperor, literally surrounded by thousands of soldiers and archers who start to kill every one with their arrows, infiltrating everything. These two masters go to the roof and there they start to spin, in one spot and yet through this moment they transcend time and space. They enter Hyper-Time, twirling faster than our normal time is functioning at. Also the actual space dimension is altered, they suck all the three-dimensional space into a new fourth dimensional one located where they are standing and they simply destroy the arrows coming at the temple. Arrows that are sucked into an invisible vortex!

Were I not involved with Continuous Music as a pianist I would like it as an interesting fantasy thing. But I understand that this is true because this is what actually happens when you start playing, like fourteen or fifteen notes per second in each hand, that the brain and the soul stop and starts standing still. You can control it with another dimension and it’s a glorious feeling. It’s so beautiful. If I give the world anything; that is if I can give anything (which is the question mark I admit), this is what I want to give; this joy of life, this joy of being. To be able to stand still in the middle of the hurricane, and make the hurricane happen around you, and yet you are still. But to be able to do that, there is a certain power. A physical dimension and muscular things you have to develop and grow. You can’t just think, “Oh I am going to do this”. You have to actually work, your body has to work, you have to discover things, you have to discover new dimensions inside your own physical flesh.

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I can only imagine how the martial arts and these spiritual techniques have an influence on you, on your mind when you are playing.

It’s a profound element because people who are pianists; I would say there are three levels of piano playing. The first, ground level is the rock and jazz which has its own virtuosity, you know. However there is the touch to the piano which is at one level, which is at a very basic level-kind of slam bang. The fingers just slam the keys, that’s it. Sometimes, on occasion they would slam faster and that’s it. Either a slam or just a bang. Then you go to the classical musicians who have a little bit more gradation. I guess a lot more. Then, the highest level is the Continuous Player, where there are not millions but an immeasurable variety of touches. The touch to the keys as you are playing Continuous Music is in another total, different world, another dimension. The classical musician has no idea it exists, you know. Your brain and body are united with this sound of the piano in such a way that your touch…I can’t describe it, but it’s like your body becomes the piano. It is a great joy! I wish pianists could grow into that. I think in classical music you can’t do this, just because of the nature of the pieces you are playing. I mean that is not a defect-I am not saying this as a criticism, you know classical music is supreme, it’s magnificent. I’m just saying there is an element there that it cannot perceive of in music, because, in the classical world, the pianist is the slave of the music. If you’re playing Grieg’s piano concerto or any other piano concerto, you are the slave of that piano concerto: you have to play it the way it is, because it is perfection, it’s glorious beauty. The beauty will collapse if you don’t play it the right way.

But in Continuous Music, the music is the slave of the pianist. The pianist reigns supreme; he reigns supreme over the music and over the instrument. In Continuous Music, the piano is your lover, the piano is your slave, the piano is your glorious friend, it is your angelic friend. The piano is sort of like your breathing and it is a beautiful thing. I want every pianist to know that every piano on the face of this earth is their friend, so they do not fear the piano, but come to it with joy and say “My dear friend, let’s make this music.”

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As you talk about this continuous music, I can imagine it’s a sense of oblivion.

It is. You’re talking to me now after working on this technique for over thirty years. So, it is a physical technique, like the martial arts that continues to grow the body and the mind. What you hear me doing now is not what I did, let’s say twenty-five years ago. I did not play in the same way. I did not have the palette of touches that has opened up. Or in fact, as recently as a few months ago some strange things happened in my knuckles as I was playing that seems to have opened up another dimension of the piano. The thing is that now, in the last few years, I have realized that the music is controlled more by the pianist’s mind and that my body has less and less to do, and I feel less and less of it (my body) as I play the concert. The amazing thing regarding the touch is that, for example when I play the audience will see the hand movement as I am doing this music and they will see all of this stuff happening really really fast. But for me, it is happening excruciatingly slowly, that when I touch the piano (for example to pull out a melodic note) it takes, let’s say, a fifteenth of a second to move the whole arm as I’m moving the hand about one and a half feet from the keyboard into the key, touching the melodic note and then pulling the arm away. For the audience, this goes by like a flash, like a single frame in cinema. One frame is what they see. Whereas for me it’s a whole universe. My mind actually perceives the whole path, every millimetre of the hand coming down. In the midst of all this note-activity, I am actually planning how I am going to touch the one note and this is what the mind does when doing Continuous Music.

There is everything happening all around you, it’s like you split your mind in many different dimensions and one of them is thinking, “OK this note is going to be touched that way”, the other hand is doing all this other stuff. It is a transition of space and time. It’s glorious. It’s beautiful. It’s not strange; If people see me, I’m just this normal guy walking down the street, right, (laughs). As John Cage says, the Zen master; he’s still walking, it’s just that you’re above the ground but no one can see it, and you don’t even think about it yourself, it’s just part of something you can do. It’s beautiful. I think the thing that I’m worried about is that, the more I talk about this technique and the wonderful things, the joyous things that happen as a pianist, that maybe it sounds so crazy, so far away for other people or “Oh boy, I don’t want to do that. I don’t want to be able to play the piano like Lubomyr Melnyk (laughs). That’s too hard, you know!” But it’s not: It’s wonderful, it’s a joy. It’s as easy as sitting down and eating something. It’s simply natural.

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Do you have a source of inspiration above all else?

I think the musician must accept God as the supreme ruler and must accept the obvious. I think Continuous Music is inspired by the Divine, because I think it’s from a sense of the Logical and Perfection; that it’s simply the logical step by step conclusion as you perceive things around you. I realize (and perhaps in a way this is something negative) that what you ask as my main inspiration, was actually the fact that I finally became free from the tyranny of scientific thought/scientists. I hear and see programs by so-called scientists, that are so absurd; they are lying, literally lying every time they open their mouths! Everything they say today; these stupid lies that they shout in your ear and in your face that “This is what we discovered…; It’s all true and all new and I’m standing on the rooftop shouting it to you.” Five months down the line, someone will stand up and say, “Oh we have just today discovered that that guy was lying all the time”. This is happening all the time. It is constant. Everything that the scientists said for the last fifty years has been a lie and it was this freedom, of suddenly understanding that science has become a Religion of Deception, a lie and falsehood. That released me into the obvious, that, you know, God and the supreme divinity, is obvious. It’s staring you in the face, and that perhaps is part of it, because you feel it so intensely when you do art, when you reach levels beyond the day-to-day life levels. Then it becomes so obvious. In a way, that in itself is an inspiration.

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Do you plan to tour Europe, Lubomyr?

Yes, I’ll be doing a tour in May. There are still venues and dates that have to be booked and finalised. But I’ve never been to Ireland, if I could one day come…like St Patrick bring something new (laughs).

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‘Corollaries’ by Lubomyr Melnyk will be released by Erased Tapes on April 15, 2013.

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For more information on Lubomyr Melnyk, continuous piano and the other artists on Erased Tapes please visit:

http://www.erasedtapes.com

https://soundcloud.com/erasedtapes

http://www.lubomyr.com

http://www.continuouspiano.com