Ryuichi Sakamoto and Carsten Nicolai (Alva Noto): Two musical innovators
Summary
TLDRこのトークは、音楽イノベーターであるリーチャード・サカモトとカルステン・ニコライの特別なゲスト出演をフィーチャーしています。彼らは2002年以降、デュオとして共同で活動しており、アコースティックと電子音楽の境界を変更する多くの作品を発表しています。彼らの出会いやコラボレーションの动机、そして音楽制作プロセスについて語り、特に近年の作品ではより抽象的な方向への進化や、即興演奏での新しい挑戦についても触れています。
Takeaways
- 🎵 リッチー・サカモトとカルステン・ニコライのデュエットが、2002年から始まり、多くの人々の音楽の考え方を変える素晴らしいディスコグラフィを作った。
- 🤝 二人が最初に会ったのは東京で、共同の友人によって紹介された。リッチーがピアノを演奏し、カルステンはその音楽に感銘を受けた。
- 🔄 彼らのコラボレーションは、最初はリッチーがカルステンに Remix を頼んだことが始まりだった。
- 🎹 カルステンは、リッチーのピアノの音を加工することなく、自分の電子音楽を加えた。
- 🚀 彼らの音楽は、初めは印象派的なものから、次第により抽象化していった。
- 🎶 彼らの最初のアルバムは、お互いの音楽を尊重し、加工しないようにした。
- 🎷 後期の作品では、リッチーがピアノをより積極的に使用し、カルステンが電子音楽をより深く加工するようになった。
- 🎤 二人は、UTPという大規模なアンサンブルと協力して、新しい曲を作った。
- 🏰 彼らは、建築家リー・ジョンソンの「Glass House」に影響を受けた即興演奏も行った。
- 💡 カルステンは、リッチーが病気から回復した後、彼らの音楽はより開放的で自由なものを求めるようになった。
- 🎥 二人は、アレハンドロ・ González Iñárritu監督の映画「The Revenant」のサウンドトラック制作で共演した。
- 🌏 彼らは、将来的には「Glass」シリーズの演奏を世界中の様々な「Glass」建築で行う計画を持っている。
Q & A
リッチー・サカモトとカルステン・ニコライが最初に会ったのはいつ、どこでですか?
-東京で会いました。リッチーがショーを行う際に、Yojiから紹介され、卡尔斯顿はそのショーを訪れました。
リッチーとカルステンはいつからデュエットとして音楽を始めましたか?
-2002年からデュエットとして音楽を始めています。彼らの最初のアルバム「Breann」がリリースされました。
リッチーとカルステンのコラボレーションのきっかけは何ですか?
-リッチーがカルステンにリミックスを頼んだことがきっかけです。最初はリッチーの音楽にカルステンが電子楽器を加えたものであり、後に二人の音楽が徐々に融合していきました。
リッチーとカルステンはどのようにして音楽の制作に協力していますか?
-最初はリッチーのピアノ音源を卡尔斯顿が使用し、電子楽器を加えたものから始まりましたが、後にはリッチーが卡尔斯顿のピアノ音源を加工し、より深いコラボレーションを行っていきました。
リッチーとカルステンはどのようにして即興演奏を行うのですか?
-リッチーとカルステンは、音楽の制作において新しいアプローチを取り入れました。彼らはスタジオで作った曲をライブで演奏するのではなく、ライブでのステージで新しい音楽を作り出しています。これにより、彼らはより多くの自由と創造力を得ることができました。
リッチーとカルステンはどのようにして音楽と映像の関係を表現していますか?
-リッチーとカルステンは、音楽と映像の関係を表現する際に、抽象的なイメージを用いることが多いです。しかし、彼らは映像が音楽を制限するのではなく、音楽にインスピレーションを与える一種の「フレーム」として映像を使用するように進化しました。
リッチーとカルステンはどのようにして「グラスハウス」の音楽を作りましたか?
-「グラスハウス」の音楽は、リッチーとカルステンが即興演奏を行い、その中で作られました。彼らは建築と自然にインスピレーションを受け、特にリッチーは自然の音と複雑さを電子音楽と組み合わせることを探求しました。
リッチーとカルステンは今後もコラボレーションを続ける予定ですか?
-リッチーとカルステンは、適切なオファーが来れば今後もコラボレーションを続ける予定です。彼らは「グラスシリーズ」のライブパフォーマンスを計画しており、世界中の多种のグラス建築で演奏する予定です。
カルステンはリッチーが抱えていたどのような病気から回復したのですか?
-リッチーはがんという病気から回復しました。その経験から、彼らはより大きなリスクを冒し、新しい音楽の可能性を探るようになりました。
リッチーとカルステンはどのようにして「ザ・リベナント」のサウンドトラックを作りましたか?
-リッチーは映画のテンポラルミュージックを作り始め、カルステンが加入してデジタルサウンドを加えたことで作られました。彼らは导演のアイデアに沿って、自然と電子音楽の融合を試みました。
リッチーとカルステンは今後の計画として「ウォーターシリーズ」についてどのようなことを考えているのですか?
-「ウォーターシリーズ」はカルステンが自分の庭で行うソロパフォーマンスに基づいたものです。卡尔斯顿は、徐々に夜が深まる中で、ピアノではなくラップトップを使用して音楽を作り、その経験からインスピレーションを受けています。
リッチーとカルステンのライブショーはいつ何時に開催されるのですか?
-リッチーとカルステンのライブショーは、日曜日の午後8時30分に行われます。また、彼らはロンドンで再び演奏することが予定されています。
Outlines
🎶 音楽の出会いとコラボレーションの始まり
この段落では、音楽家Carsten NikolaiとRichie Sakamotoがどのように出会い、コラボレーションを始めるようになったかについて語されています。彼らは2002年からデュオとして活動しており、多くの人々に影響を与えた音楽をリリースしています。最初の出会いは東京で、Yojiが紹介したことで彼らは出会い、Richieの音楽に感じ銘を押しました。この出会いが彼らのコラボレーションの始まりとなりました。
🎵 音楽の進化とコラボレーションの深まり
この段落では、Carsten NikolaiとRichie Sakamotoがどのように音楽を通じて成長し、コラボレーションを深めるようになったかについて説明されています。最初はそれぞれの音楽を重ねるだけで、徐々にはより深いコラボレーションを行い始めました。彼らの音楽は、アコースティックと電子音楽の境界を超え、新しい形を探求しています。
🎼 音楽と建築のコラボレーション
この段落では、音楽と建築のコラボレーションについて語られています。Carsten NikolaiとRichie Sakamotoは、マンハイム市の創立400周年を祝うために、オーケストラとの協力の下、新しい音楽を作りました。彼らは楽器を通じて建築空間と対話し、独自の音楽的表現を探求しました。
🌟 即興演奏と新しい音楽の創造
この段落では、Carsten NikolaiとRichie Sakamotoが新しい音楽を創造する方法について語られています。彼らは、Glass Houseでの演奏で新しい音楽的な経験を積み、自己の壁を越えていきました。彼らは即興演奏を通じて、音楽の可能性を広げ、新しい音楽の創造に成功しました。
🎹 電子音楽と即興演奏の融合
この段落では、Carsten NikolaiとRichie Sakamotoがどのように電子音楽と即興演奏を融合させるかについて語られています。彼らは、技術を活用して即興演奏を行う方法を探求し、新しい音楽的な経験を積みました。彼らの音楽は、電子音楽とアコースティックの境界を超え、新しい地平を拓いています。
🎥 映画サウンドトラックへの挑戦
この段落では、Carsten NikolaiとRichie Sakamotoが映画「The Revenant」のサウンドトラックを作成するという挑戦について語られています。彼らは、自然と電子音楽の融合を目指し、新しいサウンドを探求しました。この経験は彼らに多くの影響を与え、新しい音楽的な可能性を広げました。
🌐 未来の計画と音楽の進化
最後の段落では、Carsten NikolaiとRichie Sakamotoの未来の計画と音楽の進化について語られています。彼らは、Glass Houseの演奏を世界中の様々な場所で行う予定し、新しい音楽的なプロジェクトにも挑戦する予定です。彼らの音楽は、常に進化し、新しい地平を探求しています。
Mindmap
Keywords
💡collaboration
💡improvisation
💡electronic music
💡acoustic music
💡juxtaposition
💡abstraction
💡intimacy
💡visuals
💡soundtrack
💡risk-taking
Highlights
两位音乐创新者,Mr. Richie Sakamoto和Mr. Casten Nikolai的特别访谈。
他们自2002年以来一直作为二人组合合作,并发行了备受好评的专辑。
他们的合作改变了人们对电子音乐与原声音乐关系的看法。
首次见面是在东京的一场演出中,由Yoji介绍认识。
最初的合作是Richie邀请Carsten进行混音创作。
他们的合作方式是通过对彼此作品的深刻理解和尊重。
他们的音乐风格从印象派转变为更加抽象的表现形式。
与UTP的合作是他们音乐生涯中的重大转变,涉及与多位音乐家的合作。
在与UTP的合作中,他们通过非常抽象的方式创作,没有固定的音乐内容。
他们的音乐创作过程更加注重即兴和现场创作,而非重复播放录音室作品。
他们在音乐创作中尝试放大自己的工作领域,通过与其他艺术形式的合作。
在与Alejandro González Iñárritu合作的电影《荒野猎人》中,他们首次尝试电影原声音乐创作。
在《荒野猎人》原声音乐创作中,他们尝试将电子音乐与自然主题相结合。
他们的音乐创作过程中,技术的运用帮助他们实现了实时处理和快速反应。
他们认为音乐的美在于能够不通过展示具体图像而传递情感和画面。
在视觉艺术方面,他们认为有时候不使用图像反而能更好地激发听众的想象力。
他们计划继续合作,包括在世界各地的玻璃建筑中进行即兴演出。
他们对未来的合作持开放态度,特别是如果有合适的电影原声音乐项目。
Transcripts
please no it's fine like that
be my guest
when I Tolliver when I service good
afternoon and welcome
Susanoo Plessy today we have very
special guests to natural-born music
innovators mr. Richie Sakamoto mr.
Casten Nikolai let's welcome him as you
know actually Carsten is playing this
afternoon at half past eight right
and together they playing on Sunday at
theater Greg at 10 p.m. right correct
ok so I'm sure that you also know that
they've been working together as a duet
since 2002
well dear that Breann was released so
they already have a really good
discography that that changed in a lot
of minds that changed a lot of things
about the relationship from let's say
acoustic music with electronics let's
put it this way first of all I'd like to
ask them about all the motivations of
the first time you met and you were
together how does it where does it come
from that collaboration we met very
first time in Tokyo when he had a show
and so actually Yoji kara introduced us
so I went to see
he's the show in Tokyo and that was a
very first time I heard his music I
really immediately I feel lovely em but
he was doing and I well I'm probably
understood how he became an artist like
this I thought I thought he was he was
doing more like a techno you know the
throughout the 90s then from the German
techno movement he kind of created his
own style which was which reminded me a
little bit like the early German
experimental music like a Stockhausen
etc which I I was very familiar with so
I was so surprised
wow the new kind of generation came out
and somehow they had a very strong
connection with someone like us mm but
actually that's how we met so how that
how did it felt when really taken to you
like let's do something together
yeah it was I mean basically it was this
evening when Ryoji introduced us and and
ridge is a very open-minded and very
curious person and one of the next thing
what was happening was actually not a
was not a collaboration or something or
not the idea of a collaboration it was
that Richie asked me to do remix and in
this time you've been working on an
unbound Brazilian
different different some ezard's
something completely what you would not
connect to me at all and I said yeah
yeah I can do a remix and then I set my
remix what Ritchie laughed and the
Brazilian hated came out great and and
then Ritchie was so kind to I think you
gave me a little hard drive with one
hour of material just said do whatever
you want to do just like raw stuff and
you could use it for a lot of material
piano material just a note this was the
strange thing it was maybe 98%
electronics aha and 2% pianos
okay and so it really changed at the end
and that exactly this 2%
I took he was not interested in my
electronics that's his part okay now
maybe maybe it's just you know then
maybe sorry enough maybe it's like when
you listen like for an hour or two music
you're kind of familiar and then
something comes what is suddenly
completely different then it grabs your
attention I think this was more than
points and therefore like okay
it was very food short piano phrase and
then I created something from that and
sent Ritchie and then I think the answer
was another recording of piano then I
did the same yeah and another sub kind
of ping-pong yeah and that that style
became our tradition yeah or other the
other albums right so that this was
basic and then the material was sitting
almost in a year I was too shy to ask
can we release it but you did it final
and then it took me one a half years to
do
oh gee if if there is it would be a
possibility to release that material
luckily you agreed yeah and then Breanna
came out for your first album together
came out and then I think this at this
time I was still very frequency and
layering and not touching your piano
it's very yeah actually that's my next
question there's a big shift from
Rihanna to incense incense that Briana
is it sounds mostly as a juxtaposition
of material like your material your
material together let's see how they
work but in in in Sun here there is a
more interaction like you are processing
the piano etc so I understand that is
like getting deeper in the collaboration
between both of you
the probably the first the first time
for the real world he was too shy and
properly too respectful to touch the
material of my piano pieces so he he
wouldn't process any of my piano pieces
so he just added his own that quickness
so one plus one yes oh well different
layers of textures and happiness between
broom and incense we toured yes
sometimes so we got we got you know we
came more through some we communicated a
lot so Chinese is gone okay whatever
so yeah but it's not only China's is
some kind of respect
yeah I think it's a respect between
artists is super important I think it's
and I'm quite happy that maybe the first
album was such hire as you call it or
respectful but but this item learned me
something very important because it's a
common ground of both the electronics
and the piano they share something even
if they are not processed and there's a
communication it's a communication
happening and I think this was something
what I myself didn't expect it to be
happening but it was very happy that
something was creating it and of course
second album was much more processed
edited and I was much more working
actually with the piano sounds it's an
electronics a little after that your
collaboration went a big step further
at least from my point of view when you
collaborated with a huge assemble with
UTP that was really a big shift as I
told you because you were both dealing
with a very delicate and intimate sound
while working together alone and
suddenly you work with this lot of
musicians how did you especially you
know maybe you didn't have so much
experience with working with in symbols
how did you face it it was it was
actually you know we we were offered by
the sample whatever okay also at around
the same time we got an offer from the
city yeah and basically it turned out
this two guys appeared one wonderful
ensemble Madonna the other one was from
the city of Mannheim Wow yeah and
they wanted to celebrate their 400 any
400 or any rosary of the founding of the
city
and they wanted to celebrate it and that
a commission to a new piece but they've
been very shy and very I mean ensemble
metallus it's not a huge Orchestra but
it's 12 people are approximately but so
they said yeah please think about this
offer let's do something together and
then we came to Frankfurt quite often
and checked everything and started
recording plenty of material little
instruments
well the ensemble model is a very
skillful fascinating and experienced
ensemble for doing not only contemporary
music but in something very far from
where the Frank Izapa etc so what we
wanted to do with them was not just
writing score and give it to them and
let them play it's not like that
so we started with just talking with him
giving them some things like a think
about atmosphere and playful play with
it or something like that so many we
spent many hours many days like that
very abstract way of make making
searching something you know I mean
luckily Ricci was there because I was
absolutely not capable so talking to
them because they found out very quickly
that I have no idea about notation well
you took different languages that yeah
so we did we when I said okay can
you play this frequency or can you try
to make the frequency more stable they
looked at me because I I was missing
basically the language yeah yeah so we
had to learn the light and the Ritchie
came and so he was a translator Ritchie
can play some air yeah the guy means an
e play and I was sitting there to
explain it but I want to have some
unusual noisy sounds and then they
looked at me what much came but Ritchie
came and maybe a 4h e came and then then
a lot of things being created and very
beautiful pieces appeared mmm I mean
inspiration for please
and then Ritchie I mentioned the word
abstraction which in a way I think that
your your work together as a duet
especially has been like a long way to
abstraction into abstraction in the
sense that your first records are more
like sounds more like impressionist
music but glass your life one it's
really abstract it's like really you
know almost sound out how that was it's
something that you were like progressing
and deciding okay we should go this
direction and it's just something that
came spontaneously we like the result of
glass so much but it just came out very
spontaneously we got another offer from
the Glass House yeah which was the
architecture by Reba Johnson sitting in
Connecticut
it's a fascinating landscape so we as we
were asked to perform inside the Glass
House which is very small like two of us
with 35 people then that's just for very
intimate very tiny so we just got some
historians and the computers there's no
Nora house or no directions no concept
at all just influenced by the
architecture and the the nature
everything came out naturally
spontaneously right like a specific work
yeah we never talked about any musical
content
the only thing what we agreed to was to
use architecture as an instrument to
make the glass or to involve some
crystal balls like what has a glass
sound already but I own that no
communication no rehearsal a technical
rehearsal and then we just left it to
the moment and just played and it was
kind of magical which actually was would
you like your first work together that
has a very clear input of inspiration
which is the house itself because the
other records are whatever but this one
is mostly focused on the influence of
this space and the way you fill it isn't
it or you're related to this space and
he was very first time we improvised
together really without any follow
between the between ourselves with
something with other people yeah
because when we were during before
before glass we only played there's some
drugs from the albums on stage and this
is no drugs or no preparation at all
just except the instruments so this is
the first time we did improvised and we
felt very good condom we thought we
broke some wall because before glass we
felt we had a son some-some wall in
front of us you know the tradition
became kind of rigid so we wanted to do
something new but we didn't know what
what it was then
glass game yeah how we are about what
what I was thinking about what what rich
is saying I like it's I mean
mechanically it's far more easy to
improvise with the piano maybe than with
electronics that it's the sum of
processes how do you face up
improvisation when working with
electronics actually it's quite easy I
think because technology in the moment
is quiet I mean there's plenty of
instruments but as well I'm I'm a big
fan of digital you know sorry to say
that in the hype but so I always laughed
interfaces model interface so for me
like iPad applications or creating my
own little interface was always there
and during the process of our tour
actually I developed with
if Nebo my my collaborator in the studio
we developed a few real-time processing
software what allowed us to react super
fast
but-but-but what universe what you
normally do when you're in studio and I
have plenty of time that we created some
software but being able to do this on
the spot and so I do technology in this
in this terms was very helpful and and I
think there's as I mean I can maybe
speak both of us there's more option as
you might want to have right sometimes
it's better to have less to limit
yourself the set of kind of
possibilities yeah I mean you don't need
that much I think yeah you can get lost
among all to make it easier yeah yeah
easy to get lost one of the things that
you both share my point of view it's the
trying to amplify your your field of
work like mixing with other languages
you've done you've worked with Christian
finesse with Taylor debris with with the
crystal village you've worked with a
poet youth work with a guitar player so
it's it's it's it's a kind of makes
sense the word you doing together
because you any one of you from its own
side I've been like trying to found up a
wide wider field of work by mixing with
other languages isn't it
I don't know you can tell me if I'm
completely fraud I would like to answer
this in a different way as an electronic
musician you like to be in control
because one of the most important thing
for you is the sound and the most
control of the sound you actually have
not on stage and not in the
collaboration you have actually within a
studio in a post yes
let's say post master regular posts
production process and you can retouch
everything can be refine things so this
is I think this is our real focus to
collaborate as is a great openness and
they're great I mean it's almost like
that you have to convince yourself that
things can but I was like I don't know
how you feel but but I was very very
always very difficult about what comes
out of this so because a lot of things I
was not happy about some details maybe
or so because I would simply was used
about control and in this one of the
biggest thing you have to give up is
control when you start collaborating I
don't mean you have to forget that
you're in control of whatever
well good sight good thing about what
we've been doing since glass is that
because before as I mentioned you know
we played the tracks from the album
mostly so the we created some music in
the studio in a very good environment
then we replayed what we did in the
studio on stage so the acoustics sound
environment is not always as good as we
have in the studio or for a life
situation but now what we are doing is
since glasses we are not representing or
replaying what we we did in the studio
you know I will we are creating
something new on stage that very time on
stage with the audience that's the big
difference for me it's it's breathing so
representing or replaying and creating
this is totally different to different
things to me so I I feel alive okay so
you both are taking risks yeah with with
this work together that's it we having
fun and it's difficult technically some
point of it if I think it's for us it's
a great freedom and I think that was
specifically after Richie being so sick
and recovered luckily and I think we
didn't feel like we want to reap have to
return to the point where we've been
before we wanted to open in a different
way of chapter and not just risking
things and if it works out it works out
and people we are not afraid about fail
failing right I mean this is maybe the
biggest this is the biggest pressure on
you that you have the feeling to fail
right or that you have to yeah maybe the
certain kind of freedom but we developed
change of subject visuals are also a
great part of your life concerts I
understand that maybe it's something
that you brought in because of your
previous work with an interactive image
how do you do I think about visuals the
influent the communication between sound
and image in terms of aesthetics like
how can you reflect with abstract images
the texture of a piano or the your sine
waves you know this laser sound I have
to say maybe I mean I always used
visuals for my solo shows and of course
we developed visuals for our
collaboration but maybe after so many
years working with this kind of visuals
I feel sometimes they can be just too
destructive into than one-dimensional
because even if they're abstract
they're still giving you some kind of
image and I think most one of the most
beautiful things of music is that it
delivers image without showing image
right so this is the tricky part on
working with visuals but for the show we
are we are presenting right now we've
become less interactive and we see it
more as let's say it's a frame around us
what gives us some kind of convenience
like a context a kind of context rather
than the image is important so kind of
steps back
you get you know they the visual
synthesis triggered by the sound on your
map for a long time yeah so everybody
knows that everybody uses that and maybe
people dislike like this simulacra
synesthesia right yes I prefer like a
more subtle subtle changes so slower
much slower movements or maybe stillness
is good yeah he's right sometimes no
images it's the best imaginative thing
music music without images would be more
imaginable probably sometimes if music
is good so it's it's kind of difficult
you become too easy to use the
technology to combine sound and visual
Richie was talking about our music
without images now I would like to talk
about images with music because of your
work on soundtracks if the guys can
switch on the video please thanks
[Music]
[Music]
[Music]
[Music]
[Music]
the devil videos is cloud gracias
yeah we play live remix oh yeah okay so
we're doing a spoiler okay so the
revenant alejandro scenario to film was
your first collaboration together on a
samsung i think it was your first motion
picture soundtrack carsten you have been
doing something so for many many years
how does it came from was a inheritors
idea to ask you both to work together
basically Ritchie Cold War because maybe
you explained it
yeah I got a call from his office but
after I had cancer I wasn't fully
recovered yet
but I I got a phone call from his office
and he he said come to LA tomorrow but I
said I said answer let me think
but no no no no you should come very
mixed conway for invitation and so
anyway i started working on this so i
was i was working on almost like a 4-5
months then i knew i wouldn't have
enough time to finish so i could not
because you know we are close and he's
very capable not only done but from the
beginning of this project
the narrative had a temporary music for
editing and probably 40% of the temple
music is our music already so in the
beginning I was mimicking constant
constant sound by myself so luckily he
had a time a month and came to LA rescue
have you ever thought about doing a
soundtrack for a motion picture before
which he called you actually in like
small-scale yes because I I did some
small short films for myself for my work
and we collaborated on that too and but
I never thought about that kind of scale
or but I I loved in re to the movies and
I really love to last movie hit it
before that department because the
incorporation of the drummer into the
soundtrack and in the movie I thought
like wow brilliant finally somebody who
understands music in a different way as
just adding it on top and and yeah I
mean was unexpected but I was kind of
thinking about soundtrack but not in
such way because if you mean did you
change your approach to the relationship
with images as far as you've been
working a lot with images but with
abstract images and then you have to go
into a classical narrative structure I
think the first thing where you have to
understand is that you not a composer
already in this mom
you kind of serve or you kind of servant
to the director into the image and you
have a lot of influence but still it's
not about your ego in such a moment it's
really that something about what you can
make better or when you work together
and and in this case you what is really
great
specifically with in re to because you
get a lot of feedback sometimes
difficult feedback but it's it's great
that something can be created that maybe
isn't not just that some composer gets
some music and puts on top so there's a
lot of this kind of feedback system
happening here and this was with
specific if you know Rio Grande it very
difficult because he's such a pain in
the ass on details and I have to say
what's really yeah unbelievable and yeah
yes from the very beginning you know the
project you know II too insisted you
have not not the convention of your
musical of course but you know he kept
saying the layers of the sounds layers
of sounds so I thought it was easy you
know just I used rather than writing
dramatic melody no it's not easy for me
but you know just putting layers of
sounds will be easy but then difficulty
came after that okay I need the layers
of sounds but still you should go with
the drama to narrate
or invest emphasize yeah some emotions
but emphasize the emotions with layers
of sounds wouldn't be so easy so it was
a very big challenge for me it's a new
way of making how it came when you're
working in such a movie as the Reverend
where it's mostly a movie about nature
about this history that happens in the
wild in the woods where nature is an
influence on the whole story and then
you have this idea okay we're going to
add some very synthetic digital sounds
here how didn't are we to think about
that first time it's hard to describe
but I I think I understood what he
wanted like a for instance there's a big
waterfall seeing and I from the
beginning he put his very synthetic
music oh god that's it it totally worked
out so so good so sometimes we well of
course I love sounds of the nature you
know I need to listen to the sounds of
nature time by time but it's not only
it's only only for soothing or anything
but the to get to know the complexity of
the sounds of nature that's what I want
to hear so like let's say only was
listening to the only raindrops but is
super super complex and that complexity
is somehow close to what he's been doing
what he wants to do so it's not it's not
the background music or soothing
soothing relaxation music for for nature
you see you normally see the dentist
clinic director that's exactly what he
wanted to express it's not only the just
drawing the beauty of nature or anything
like the more like I don't know so and
you from your side
Richie called you can you help me with
this soundtrack and oh yeah it happens
all in the woods and you have to add
your sound to that yeah and at say in
the beginning I thought it's a western
movie
how does it work that electronic music
and like but in the end after while
working on it you lost this image of
that is the western movie because
basically this is a movie about some men
struggling right I mean
nature of course and electronic music
and nature is very cool very close to
each other I mean like there's this one
fantastic book about birds from cage or
whatever so electronic music and nature
is actually kind of almost same I would
say as I mean not same but it's very
close to each other much closer as maybe
a classical music okay we have no time
left unfortunately so let's really
cliche question are you gonna work
together again on soundtracks and what
are your most immediate and next plans
as together I mean the most immediate is
that we playing on well yeah I know that
you're playing on Sunday at 10:00 p.m. I
insist at the Teatro Gregg you how you
all have to go there we play on on
Wednesday in London again but you are
you thinking about working together
again on a soundtrack for example I mean
this this depends not on us or nature
but I think if the right offer comes
yeah because you know the grass house
was so inspiring for us and we get the
very good result out of the
improvisation so we were saying at that
time you know why don't we do the glass
series of a performance there are many
glass architecture in the world a very
inspiring architecture in Germany maybe
here in Japan so we go there and do the
performance so we'll get the series of a
glass then you've got some another idea
after that but I've forgotten
water water water series well I I have
my own garden garden see
sometimes I went to like some temples in
Kyoto and do the because 3 hour set just
should sometimes you know DJing
sometimes with my own sounds no piano
just a laptop is so fascinating read
that like five to eight the night is
slowly going away and the Berbers are
getting quiet sometimes we get the
sounds of the city far far away it was
so beautiful cool so that the Garden
Suites is all and he can join me okay
so Richie Carson thank you very much for
sharing this time with us thank you very
much for coming gracias at experiment in
which is yes you remember Carsten is
playing today 8:30 and together on
Sunday thank you very much
[Music]
[Applause]
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TERIYAKI BEEF / SEEDA & OKI (GEEK)
米国の同盟国をやめた瞬間に、CIAのマルウェアが日本中のインフラを崩壊させる!?スノーデン証言の真偽は⁉︎ーー映画『スノーデン』のオリバー・ストーン監督に岩上安身が直撃質問! 2017.1.18
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