Ryuichi Sakamoto and Carsten Nicolai (Alva Noto): Two musical innovators

Sónar+D | Archive
3 Jul 201843:42

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

00:00

🎶 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。

05:01

🎵 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。

10:03

🎼 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。

15:04

🌟 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。

20:05

🎹 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。

25:05

🎥 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。

30:11

🌐 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

「collaboration」とは、複数の個体が共同で作業やプロジェクトを進めることを指す。このビデオでは、音楽家たちが共同で作品を創作し、演奏会上でパフォーマンスを行うことで、協力して芸術的な価値を創出していることが示されている。例えば、Ritchie SakamotoとCarsten Nikolaiがデュオとして音楽を制作し、UTPというエンSEMBLEと協力して作品を創作したと話されている。

💡improvisation

「improvisation」とは、あらかじめ決められていない方法や計画に基づいて、現場で即座に音楽を演奏することを指す。このビデオでは、アーティストたちが即興演奏を通じて、新しい音の発見や創造を追求していることが強調されている。特に、Ritchie SakamotoとCarsten Nikolaiが「Glass House」の演奏会で即興演奏を行った際に、自然と空間に影響を受けて音楽が形成されたことが触れられている。

💡electronic music

「electronic music」とは、電子機器やデジタル技術を用いて作られた音楽を指す。ビデオでは、Carsten Nikolaiが電子音楽を作り、そのスタイルがリッチー・サカモトに影響を与えたことが示されている。また、彼らのコラボレーションでは、電子音楽とピアノの音を組み合わせて新しい音楽の形を作り出したと説明されている。

💡acoustic music

「acoustic music」とは、電気的な增幅や電子機器を使わず、自然な音を頼りに音楽を作り出すことを指す。ビデオでは、Ritchie Sakamotoのピアノ演奏がアコースティック音楽の代表的な要素として取り上げられ、それがCarsten Nikolaiの電子音楽と融合して新しいサウンドスケープを生み出したと説明されている。

💡juxtaposition

「juxtaposition」とは、異なる物事を並べ比べることで、それらの対比や相互作用を強調することを指す。ビデオでは、アコースティックなピアノと電子的なサウンドが並べ置きされ、その対比が曲の豊かな表現に寄与していることが示されている。

💡abstraction

「abstraction」とは、具体的なイメージや詳細を省略し、主要な要素だけを強調することで、概念やアイデアを表現することを指す。ビデオでは、Ritchie SakamotoとCarsten Nikolaiの音楽がより抽象的なものへと進化し、音の純粋な表現や感情の表現を重視するようになったことが触れられている。

💡intimacy

「intimacy」とは、親密性や深い感情のつながりを指す。ビデオでは、リトル・リッチーとカルステンが初期の作品で表現した親密でデリケートなサウンドが、彼らの音楽の重要な特徴として強調されている。

💡visuals

「visuals」とは、視覚的な要素や映像を指す。ビデオでは、音楽と映像がどのように関連し、互いに影響を与えているかが説明されており、視覚的な表現が音楽の体験をどのように強化するかが議論されている。

💡soundtrack

「soundtrack」とは、映画やドラマなどの映像作品に合わせて制作された音楽を指す。ビデオでは、Ritchie SakamotoとCarsten Nikolaiが映画「The Revenant」のサウンドトラック制作に協力した経験が触れられており、その過程で彼らがどのように音と画像の関係を探求したかが説明されている。

💡risk-taking

「risk-taking」とは、新しいことに挑戦し、失敗のリスクを負うことを指す。ビデオでは、Ritchie SakamotoとCarsten Nikolaiが音楽の創作やパフォーマンスにおいて、新しいスタイルを試み、未知の領域に挑戦することで刺激を与え合い、より創造的な成果を得るプロセスが強調されている。

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

00:11

please no it's fine like that

00:15

be my guest

00:19

when I Tolliver when I service good

00:22

afternoon and welcome

00:24

Susanoo Plessy today we have very

00:29

special guests to natural-born music

00:36

innovators mr. Richie Sakamoto mr.

00:40

Casten Nikolai let's welcome him as you

00:49

know actually Carsten is playing this

00:52

afternoon at half past eight right

00:56

and together they playing on Sunday at

00:59

theater Greg at 10 p.m. right correct

01:02

ok so I'm sure that you also know that

01:06

they've been working together as a duet

01:10

since 2002

01:13

well dear that Breann was released so

01:18

they already have a really good

01:20

discography that that changed in a lot

01:22

of minds that changed a lot of things

01:25

about the relationship from let's say

01:31

acoustic music with electronics let's

01:35

put it this way first of all I'd like to

01:39

ask them about all the motivations of

01:43

the first time you met and you were

01:45

together how does it where does it come

01:48

from that collaboration we met very

01:55

first time in Tokyo when he had a show

02:00

and so actually Yoji kara introduced us

02:07

so I went to see

02:09

he's the show in Tokyo and that was a

02:12

very first time I heard his music I

02:17

really immediately I feel lovely em but

02:22

he was doing and I well I'm probably

02:29

understood how he became an artist like

02:34

this I thought I thought he was he was

02:37

doing more like a techno you know the

02:41

throughout the 90s then from the German

02:45

techno movement he kind of created his

02:49

own style which was which reminded me a

02:52

little bit like the early German

02:56

experimental music like a Stockhausen

02:59

etc which I I was very familiar with so

03:05

I was so surprised

03:08

wow the new kind of generation came out

03:11

and somehow they had a very strong

03:15

connection with someone like us mm but

03:21

actually that's how we met so how that

03:31

how did it felt when really taken to you

03:34

like let's do something together

03:36

yeah it was I mean basically it was this

03:40

evening when Ryoji introduced us and and

03:48

ridge is a very open-minded and very

03:51

curious person and one of the next thing

03:56

what was happening was actually not a

03:58

was not a collaboration or something or

04:00

not the idea of a collaboration it was

04:02

that Richie asked me to do remix and in

04:07

this time you've been working on an

04:11

unbound Brazilian

04:13

different different some ezard's

04:15

something completely what you would not

04:18

connect to me at all and I said yeah

04:21

yeah I can do a remix and then I set my

04:25

remix what Ritchie laughed and the

04:28

Brazilian hated came out great and and

04:35

then Ritchie was so kind to I think you

04:39

gave me a little hard drive with one

04:42

hour of material just said do whatever

04:45

you want to do just like raw stuff and

04:48

you could use it for a lot of material

04:51

piano material just a note this was the

04:54

strange thing it was maybe 98%

04:57

electronics aha and 2% pianos

05:00

okay and so it really changed at the end

05:04

and that exactly this 2%

05:07

I took he was not interested in my

05:11

electronics that's his part okay now

05:16

maybe maybe it's just you know then

05:18

maybe sorry enough maybe it's like when

05:24

you listen like for an hour or two music

05:26

you're kind of familiar and then

05:28

something comes what is suddenly

05:30

completely different then it grabs your

05:33

attention I think this was more than

05:35

points and therefore like okay

05:37

it was very food short piano phrase and

05:40

then I created something from that and

05:43

sent Ritchie and then I think the answer

05:48

was another recording of piano then I

05:53

did the same yeah and another sub kind

05:56

of ping-pong yeah and that that style

05:59

became our tradition yeah or other the

06:02

other albums right so that this was

06:05

basic and then the material was sitting

06:08

almost in a year I was too shy to ask

06:12

can we release it but you did it final

06:18

and then it took me one a half years to

06:21

do

06:22

oh gee if if there is it would be a

06:25

possibility to release that material

06:28

luckily you agreed yeah and then Breanna

06:32

came out for your first album together

06:35

came out and then I think this at this

06:38

time I was still very frequency and

06:42

layering and not touching your piano

06:44

it's very yeah actually that's my next

06:47

question there's a big shift from

06:50

Rihanna to incense incense that Briana

06:55

is it sounds mostly as a juxtaposition

06:57

of material like your material your

07:00

material together let's see how they

07:02

work but in in in Sun here there is a

07:08

more interaction like you are processing

07:11

the piano etc so I understand that is

07:15

like getting deeper in the collaboration

07:18

between both of you

07:20

the probably the first the first time

07:22

for the real world he was too shy and

07:26

properly too respectful to touch the

07:31

material of my piano pieces so he he

07:36

wouldn't process any of my piano pieces

07:41

so he just added his own that quickness

07:44

so one plus one yes oh well different

07:47

layers of textures and happiness between

07:51

broom and incense we toured yes

07:55

sometimes so we got we got you know we

07:59

came more through some we communicated a

08:03

lot so Chinese is gone okay whatever

08:12

so yeah but it's not only China's is

08:16

some kind of respect

08:18

yeah I think it's a respect between

08:20

artists is super important I think it's

08:24

and I'm quite happy that maybe the first

08:29

album was such hire as you call it or

08:31

respectful but but this item learned me

08:36

something very important because it's a

08:41

common ground of both the electronics

08:45

and the piano they share something even

08:48

if they are not processed and there's a

08:51

communication it's a communication

08:53

happening and I think this was something

08:55

what I myself didn't expect it to be

08:59

happening but it was very happy that

09:02

something was creating it and of course

09:09

second album was much more processed

09:12

edited and I was much more working

09:16

actually with the piano sounds it's an

09:18

electronics a little after that your

09:22

collaboration went a big step further

09:25

at least from my point of view when you

09:28

collaborated with a huge assemble with

09:31

UTP that was really a big shift as I

09:37

told you because you were both dealing

09:39

with a very delicate and intimate sound

09:44

while working together alone and

09:47

suddenly you work with this lot of

09:49

musicians how did you especially you

09:52

know maybe you didn't have so much

09:54

experience with working with in symbols

09:56

how did you face it it was it was

10:03

actually you know we we were offered by

10:07

the sample whatever okay also at around

10:14

the same time we got an offer from the

10:18

city yeah and basically it turned out

10:22

this two guys appeared one wonderful

10:25

ensemble Madonna the other one was from

10:27

the city of Mannheim Wow yeah and

10:31

they wanted to celebrate their 400 any

10:35

400 or any rosary of the founding of the

10:38

city

10:39

and they wanted to celebrate it and that

10:42

a commission to a new piece but they've

10:45

been very shy and very I mean ensemble

10:50

metallus it's not a huge Orchestra but

10:52

it's 12 people are approximately but so

10:58

they said yeah please think about this

11:00

offer let's do something together and

11:02

then we came to Frankfurt quite often

11:06

and checked everything and started

11:09

recording plenty of material little

11:12

instruments

11:14

well the ensemble model is a very

11:18

skillful fascinating and experienced

11:22

ensemble for doing not only contemporary

11:26

music but in something very far from

11:29

where the Frank Izapa etc so what we

11:34

wanted to do with them was not just

11:38

writing score and give it to them and

11:41

let them play it's not like that

11:44

so we started with just talking with him

11:51

giving them some things like a think

11:59

about atmosphere and playful play with

12:02

it or something like that so many we

12:06

spent many hours many days like that

12:08

very abstract way of make making

12:14

searching something you know I mean

12:18

luckily Ricci was there because I was

12:20

absolutely not capable so talking to

12:24

them because they found out very quickly

12:27

that I have no idea about notation well

12:31

you took different languages that yeah

12:32

so we did we when I said okay can

12:35

you play this frequency or can you try

12:38

to make the frequency more stable they

12:41

looked at me because I I was missing

12:45

basically the language yeah yeah so we

12:49

had to learn the light and the Ritchie

12:51

came and so he was a translator Ritchie

12:56

can play some air yeah the guy means an

13:03

e play and I was sitting there to

13:06

explain it but I want to have some

13:08

unusual noisy sounds and then they

13:11

looked at me what much came but Ritchie

13:14

came and maybe a 4h e came and then then

13:18

a lot of things being created and very

13:22

beautiful pieces appeared mmm I mean

13:24

inspiration for please

13:26

and then Ritchie I mentioned the word

13:29

abstraction which in a way I think that

13:32

your your work together as a duet

13:35

especially has been like a long way to

13:38

abstraction into abstraction in the

13:40

sense that your first records are more

13:42

like sounds more like impressionist

13:44

music but glass your life one it's

13:49

really abstract it's like really you

13:51

know almost sound out how that was it's

13:55

something that you were like progressing

13:58

and deciding okay we should go this

14:00

direction and it's just something that

14:02

came spontaneously we like the result of

14:15

glass so much but it just came out very

14:19

spontaneously we got another offer from

14:25

the Glass House yeah which was the

14:28

architecture by Reba Johnson sitting in

14:32

Connecticut

14:33

it's a fascinating landscape so we as we

14:43

were asked to perform inside the Glass

14:46

House which is very small like two of us

14:51

with 35 people then that's just for very

14:55

intimate very tiny so we just got some

15:04

historians and the computers there's no

15:08

Nora house or no directions no concept

15:12

at all just influenced by the

15:15

architecture and the the nature

15:19

everything came out naturally

15:22

spontaneously right like a specific work

15:29

yeah we never talked about any musical

15:32

content

15:32

the only thing what we agreed to was to

15:35

use architecture as an instrument to

15:38

make the glass or to involve some

15:42

crystal balls like what has a glass

15:45

sound already but I own that no

15:50

communication no rehearsal a technical

15:52

rehearsal and then we just left it to

15:55

the moment and just played and it was

15:58

kind of magical which actually was would

16:01

you like your first work together that

16:04

has a very clear input of inspiration

16:09

which is the house itself because the

16:11

other records are whatever but this one

16:14

is mostly focused on the influence of

16:16

this space and the way you fill it isn't

16:19

it or you're related to this space and

16:22

he was very first time we improvised

16:27

together really without any follow

16:33

between the between ourselves with

16:35

something with other people yeah

16:42

because when we were during before

16:45

before glass we only played there's some

16:49

drugs from the albums on stage and this

16:53

is no drugs or no preparation at all

16:56

just except the instruments so this is

17:02

the first time we did improvised and we

17:04

felt very good condom we thought we

17:09

broke some wall because before glass we

17:15

felt we had a son some-some wall in

17:21

front of us you know the tradition

17:24

became kind of rigid so we wanted to do

17:30

something new but we didn't know what

17:33

what it was then

17:35

glass game yeah how we are about what

17:41

what I was thinking about what what rich

17:42

is saying I like it's I mean

17:46

mechanically it's far more easy to

17:49

improvise with the piano maybe than with

17:51

electronics that it's the sum of

17:54

processes how do you face up

17:56

improvisation when working with

17:57

electronics actually it's quite easy I

18:02

think because technology in the moment

18:06

is quiet I mean there's plenty of

18:11

instruments but as well I'm I'm a big

18:15

fan of digital you know sorry to say

18:18

that in the hype but so I always laughed

18:26

interfaces model interface so for me

18:29

like iPad applications or creating my

18:34

own little interface was always there

18:38

and during the process of our tour

18:43

actually I developed with

18:46

if Nebo my my collaborator in the studio

18:50

we developed a few real-time processing

18:56

software what allowed us to react super

18:59

fast

19:00

but-but-but what universe what you

19:02

normally do when you're in studio and I

19:04

have plenty of time that we created some

19:06

software but being able to do this on

19:08

the spot and so I do technology in this

19:14

in this terms was very helpful and and I

19:19

think there's as I mean I can maybe

19:23

speak both of us there's more option as

19:26

you might want to have right sometimes

19:29

it's better to have less to limit

19:32

yourself the set of kind of

19:34

possibilities yeah I mean you don't need

19:37

that much I think yeah you can get lost

19:41

among all to make it easier yeah yeah

19:44

easy to get lost one of the things that

19:47

you both share my point of view it's the

19:50

trying to amplify your your field of

19:55

work like mixing with other languages

19:57

you've done you've worked with Christian

20:01

finesse with Taylor debris with with the

20:04

crystal village you've worked with a

20:07

poet youth work with a guitar player so

20:11

it's it's it's it's a kind of makes

20:15

sense the word you doing together

20:17

because you any one of you from its own

20:21

side I've been like trying to found up a

20:24

wide wider field of work by mixing with

20:28

other languages isn't it

20:33

I don't know you can tell me if I'm

20:42

completely fraud I would like to answer

20:45

this in a different way as an electronic

20:48

musician you like to be in control

20:52

because one of the most important thing

20:55

for you is the sound and the most

20:59

control of the sound you actually have

21:01

not on stage and not in the

21:03

collaboration you have actually within a

21:05

studio in a post yes

21:08

let's say post master regular posts

21:11

production process and you can retouch

21:15

everything can be refine things so this

21:18

is I think this is our real focus to

21:24

collaborate as is a great openness and

21:29

they're great I mean it's almost like

21:31

that you have to convince yourself that

21:33

things can but I was like I don't know

21:36

how you feel but but I was very very

21:40

always very difficult about what comes

21:43

out of this so because a lot of things I

21:48

was not happy about some details maybe

21:51

or so because I would simply was used

21:55

about control and in this one of the

22:00

biggest thing you have to give up is

22:01

control when you start collaborating I

22:03

don't mean you have to forget that

22:05

you're in control of whatever

22:10

well good sight good thing about what

22:14

we've been doing since glass is that

22:17

because before as I mentioned you know

22:22

we played the tracks from the album

22:24

mostly so the we created some music in

22:31

the studio in a very good environment

22:34

then we replayed what we did in the

22:39

studio on stage so the acoustics sound

22:47

environment is not always as good as we

22:51

have in the studio or for a life

22:54

situation but now what we are doing is

23:02

since glasses we are not representing or

23:10

replaying what we we did in the studio

23:13

you know I will we are creating

23:16

something new on stage that very time on

23:22

stage with the audience that's the big

23:26

difference for me it's it's breathing so

23:31

representing or replaying and creating

23:34

this is totally different to different

23:36

things to me so I I feel alive okay so

23:43

you both are taking risks yeah with with

23:46

this work together that's it we having

23:48

fun and it's difficult technically some

23:51

point of it if I think it's for us it's

23:54

a great freedom and I think that was

23:58

specifically after Richie being so sick

24:03

and recovered luckily and I think we

24:10

didn't feel like we want to reap have to

24:13

return to the point where we've been

24:15

before we wanted to open in a different

24:17

way of chapter and not just risking

24:19

things and if it works out it works out

24:21

and people we are not afraid about fail

24:24

failing right I mean this is maybe the

24:27

biggest this is the biggest pressure on

24:30

you that you have the feeling to fail

24:33

right or that you have to yeah maybe the

24:39

certain kind of freedom but we developed

24:44

change of subject visuals are also a

24:49

great part of your life concerts I

24:55

understand that maybe it's something

24:57

that you brought in because of your

24:59

previous work with an interactive image

25:04

how do you do I think about visuals the

25:09

influent the communication between sound

25:12

and image in terms of aesthetics like

25:15

how can you reflect with abstract images

25:19

the texture of a piano or the your sine

25:23

waves you know this laser sound I have

25:31

to say maybe I mean I always used

25:35

visuals for my solo shows and of course

25:37

we developed visuals for our

25:40

collaboration but maybe after so many

25:47

years working with this kind of visuals

25:49

I feel sometimes they can be just too

25:53

destructive into than one-dimensional

25:58

because even if they're abstract

26:00

they're still giving you some kind of

26:02

image and I think most one of the most

26:05

beautiful things of music is that it

26:07

delivers image without showing image

26:10

right so this is the tricky part on

26:13

working with visuals but for the show we

26:19

are we are presenting right now we've

26:22

become less interactive and we see it

26:27

more as let's say it's a frame around us

26:32

what gives us some kind of convenience

26:35

like a context a kind of context rather

26:38

than the image is important so kind of

26:43

steps back

26:45

you get you know they the visual

26:52

synthesis triggered by the sound on your

26:56

map for a long time yeah so everybody

27:03

knows that everybody uses that and maybe

27:06

people dislike like this simulacra

27:09

synesthesia right yes I prefer like a

27:15

more subtle subtle changes so slower

27:20

much slower movements or maybe stillness

27:23

is good yeah he's right sometimes no

27:37

images it's the best imaginative thing

27:43

music music without images would be more

27:48

imaginable probably sometimes if music

27:52

is good so it's it's kind of difficult

27:59

you become too easy to use the

28:05

technology to combine sound and visual

28:13

Richie was talking about our music

28:17

without images now I would like to talk

28:20

about images with music because of your

28:25

work on soundtracks if the guys can

28:31

switch on the video please thanks

28:56

[Music]

29:06

[Music]

29:14

[Music]

29:38

[Music]

30:10

[Music]

30:17

the devil videos is cloud gracias

30:20

yeah we play live remix oh yeah okay so

30:27

we're doing a spoiler okay so the

30:33

revenant alejandro scenario to film was

30:37

your first collaboration together on a

30:40

samsung i think it was your first motion

30:43

picture soundtrack carsten you have been

30:46

doing something so for many many years

30:48

how does it came from was a inheritors

30:51

idea to ask you both to work together

30:55

basically Ritchie Cold War because maybe

31:00

you explained it

31:01

yeah I got a call from his office but

31:09

after I had cancer I wasn't fully

31:13

recovered yet

31:14

but I I got a phone call from his office

31:17

and he he said come to LA tomorrow but I

31:25

said I said answer let me think

31:27

but no no no no you should come very

31:32

mixed conway for invitation and so

31:40

anyway i started working on this so i

31:47

was i was working on almost like a 4-5

31:50

months then i knew i wouldn't have

31:55

enough time to finish so i could not

32:01

because you know we are close and he's

32:05

very capable not only done but from the

32:09

beginning of this project

32:14

the narrative had a temporary music for

32:18

editing and probably 40% of the temple

32:23

music is our music already so in the

32:29

beginning I was mimicking constant

32:32

constant sound by myself so luckily he

32:49

had a time a month and came to LA rescue

33:03

have you ever thought about doing a

33:06

soundtrack for a motion picture before

33:08

which he called you actually in like

33:15

small-scale yes because I I did some

33:18

small short films for myself for my work

33:21

and we collaborated on that too and but

33:26

I never thought about that kind of scale

33:28

or but I I loved in re to the movies and

33:32

I really love to last movie hit it

33:34

before that department because the

33:38

incorporation of the drummer into the

33:41

soundtrack and in the movie I thought

33:43

like wow brilliant finally somebody who

33:46

understands music in a different way as

33:48

just adding it on top and and yeah I

33:53

mean was unexpected but I was kind of

33:58

thinking about soundtrack but not in

34:01

such way because if you mean did you

34:04

change your approach to the relationship

34:07

with images as far as you've been

34:09

working a lot with images but with

34:11

abstract images and then you have to go

34:13

into a classical narrative structure I

34:18

think the first thing where you have to

34:20

understand is that you not a composer

34:23

already in this mom

34:24

you kind of serve or you kind of servant

34:28

to the director into the image and you

34:32

have a lot of influence but still it's

34:37

not about your ego in such a moment it's

34:40

really that something about what you can

34:42

make better or when you work together

34:44

and and in this case you what is really

34:49

great

34:49

specifically with in re to because you

34:53

get a lot of feedback sometimes

34:54

difficult feedback but it's it's great

35:00

that something can be created that maybe

35:02

isn't not just that some composer gets

35:06

some music and puts on top so there's a

35:08

lot of this kind of feedback system

35:09

happening here and this was with

35:15

specific if you know Rio Grande it very

35:18

difficult because he's such a pain in

35:22

the ass on details and I have to say

35:24

what's really yeah unbelievable and yeah

35:35

yes from the very beginning you know the

35:40

project you know II too insisted you

35:45

have not not the convention of your

35:49

musical of course but you know he kept

35:53

saying the layers of the sounds layers

35:58

of sounds so I thought it was easy you

36:01

know just I used rather than writing

36:07

dramatic melody no it's not easy for me

36:11

but you know just putting layers of

36:14

sounds will be easy but then difficulty

36:18

came after that okay I need the layers

36:22

of sounds but still you should go with

36:27

the drama to narrate

36:31

or invest emphasize yeah some emotions

36:35

but emphasize the emotions with layers

36:42

of sounds wouldn't be so easy so it was

36:48

a very big challenge for me it's a new

36:52

way of making how it came when you're

36:57

working in such a movie as the Reverend

37:00

where it's mostly a movie about nature

37:03

about this history that happens in the

37:06

wild in the woods where nature is an

37:10

influence on the whole story and then

37:14

you have this idea okay we're going to

37:15

add some very synthetic digital sounds

37:19

here how didn't are we to think about

37:22

that first time it's hard to describe

37:29

but I I think I understood what he

37:33

wanted like a for instance there's a big

37:43

waterfall seeing and I from the

37:48

beginning he put his very synthetic

37:54

music oh god that's it it totally worked

38:00

out so so good so sometimes we well of

38:06

course I love sounds of the nature you

38:10

know I need to listen to the sounds of

38:15

nature time by time but it's not only

38:18

it's only only for soothing or anything

38:22

but the to get to know the complexity of

38:27

the sounds of nature that's what I want

38:30

to hear so like let's say only was

38:35

listening to the only raindrops but is

38:40

super super complex and that complexity

38:44

is somehow close to what he's been doing

38:48

what he wants to do so it's not it's not

38:54

the background music or soothing

38:56

soothing relaxation music for for nature

39:01

you see you normally see the dentist

39:06

clinic director that's exactly what he

39:12

wanted to express it's not only the just

39:18

drawing the beauty of nature or anything

39:21

like the more like I don't know so and

39:41

you from your side

39:43

Richie called you can you help me with

39:45

this soundtrack and oh yeah it happens

39:47

all in the woods and you have to add

39:50

your sound to that yeah and at say in

39:52

the beginning I thought it's a western

39:56

movie

39:57

how does it work that electronic music

40:01

and like but in the end after while

40:06

working on it you lost this image of

40:10

that is the western movie because

40:12

basically this is a movie about some men

40:14

struggling right I mean

40:16

nature of course and electronic music

40:20

and nature is very cool very close to

40:22

each other I mean like there's this one

40:24

fantastic book about birds from cage or

40:27

whatever so electronic music and nature

40:31

is actually kind of almost same I would

40:36

say as I mean not same but it's very

40:39

close to each other much closer as maybe

40:41

a classical music okay we have no time

40:47

left unfortunately so let's really

40:50

cliche question are you gonna work

40:53

together again on soundtracks and what

40:55

are your most immediate and next plans

40:58

as together I mean the most immediate is

41:04

that we playing on well yeah I know that

41:05

you're playing on Sunday at 10:00 p.m. I

41:08

insist at the Teatro Gregg you how you

41:11

all have to go there we play on on

41:14

Wednesday in London again but you are

41:17

you thinking about working together

41:19

again on a soundtrack for example I mean

41:22

this this depends not on us or nature

41:26

but I think if the right offer comes

41:29

yeah because you know the grass house

41:34

was so inspiring for us and we get the

41:37

very good result out of the

41:43

improvisation so we were saying at that

41:47

time you know why don't we do the glass

41:49

series of a performance there are many

41:54

glass architecture in the world a very

41:56

inspiring architecture in Germany maybe

42:01

here in Japan so we go there and do the

42:07

performance so we'll get the series of a

42:11

glass then you've got some another idea

42:15

after that but I've forgotten

42:20

water water water series well I I have

42:25

my own garden garden see

42:29

sometimes I went to like some temples in

42:32

Kyoto and do the because 3 hour set just

42:37

should sometimes you know DJing

42:39

sometimes with my own sounds no piano

42:43

just a laptop is so fascinating read

42:47

that like five to eight the night is

42:55

slowly going away and the Berbers are

43:00

getting quiet sometimes we get the

43:03

sounds of the city far far away it was

43:06

so beautiful cool so that the Garden

43:10

Suites is all and he can join me okay

43:17

so Richie Carson thank you very much for

43:21

sharing this time with us thank you very

43:25

much for coming gracias at experiment in

43:26

which is yes you remember Carsten is

43:30

playing today 8:30 and together on

43:33

Sunday thank you very much

43:35

[Music]

43:35

[Applause]

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