sexta-feira, 29 de janeiro de 2010
watch yourself, get on patrol
a propósito do novo disco de SUN ARAW ( Cameron Stallones ), para ser editado em breve, aqui fica um excerto de conversa online e a subsequente entrevista. O disco será duplo, e diz ele que será lançado com pompa e circunstância, por isso, nada de cheirinhos em mp3, infelizmente.
Cameron: its really sparse
to me its very free-jazz influenced...not the music, but the tones
lot of acoustic drums, congas, etc
HEAVY DEEDS was a celestial record, ON PATROL is the application
on the streets
so its dipped in darkness and necessary compromise...the energies seething underneath get colored by the dirt
Cameron: serious man, its an application, dirt and bones record...HEAVY DEEDS was a "perfect world" vibe
this is where those energies meet reality
so its a struggle
me: i'm curious..
you played every instrument?
but there's a two part jam THE STAKEOUT and THE STAKOUT: REPRISE that feat. William
its a statement
drops some knowledge
me: an athletic record, i see...
does it build on the Deeds's explanation of the phenomenon?
me: you plan on writing some liners like the ones on the deeds?
Cameron: i worked on it for a long time
and on this one
i decided instead of liner notes every song has a subtitle
e agora a entrevista como deve ser:
Filipe - Repetition summons rationality – your music makes me think that it works as a tight system of evolution, adaptation, organization of perception in clusters of ecstatic rhythm and melody. Is this crap or can you relate to it in any way?
Cameron - Re-organization of perception is a groove I can ride, brother. There is no fixed perspective, and participating in the breakdown of what is sometimes helpful but ultimately a distortion of the universe is definitely part of my game. Its moving a camera in deep focus through a fixed space. Essentially loop-based composition that strives for angle after angle on the melodic object.
F - Ever thought of gathering a big band to play your stuff? I know that live you use a tape player to spit out the rhythm – would you like to orchestrate that stuff?
C - Yeah man, I think about it. Maybe soon. My true dream is to have maybe near 10 people so that I could make the arrangements live, in a performative way. I've been dwelling on that for a while.
F - When did you start to listen to music?
C - I started caring in high school, but it was really college when I became a record geek. I wish it had happened earlier, I see high school kids listening to the most epic stuff, and I wonder where they'll be when they're my age. But then I didn't have mama matrix thrusting every obscure Japanese psych record or African synth-pop tape into my earholes, I had to hunt through some pretty meager record bins. But I have it now, and I guess I'm thankful? I don't think we really know if we're thankful yet, haha. That's why I try to get ON PATROL.
F - I remember you telling me that the new record is the application of the philosophies of Heavy Deeds - how come?
Because no one can live in the Heavy Deeds universe, on the Mind Planes, for serious amounts of time. Maybe some can but I can't, its thin air up there. I started to realize that I needed an application, a compromise in some ways, I guess. Though I don't see it as negative, because I don't give any ground to the opposing forces, I just try to navigate the conflicts. It's time for me to get ON PATROL, you gotta get ON PATROL. Perception and awareness, and the recognition of their ability to change the nature of the situation.
F - Nowadays we can sense that there is lot of visual imagery used to describe sounds - sign of the times, maybe, but, what kind of mental process gives birth to your music? are you responding to stimuli from other stuff, or does sun araw come from a nether region in your mind?
C - For me its about completely dropping out to look for the source. Once something has been located, I try to dress it up with whatever tones are influencing me at the moment, but I definitely don't set out to write anything that sounds like anything in particular. I'm always really surprised when an album begins to be coherent: a single zone. It usually doesn't happen until maybe the middle of the process and it's always kind of shocking, but joyful.
Publicada por Filipe Felizardo à(s) 05:06