Fünf Fragen an...
What is your motivation for still creating new sound worlds after 30 years?
The challenge is still there to push our own boundaries to see what we can produce whether that is in the studio or a live performance.
We had a 10 year break between 2000 and 2010 where we didn’t record any new music as a band. Although, when we started working again, we released ‘A Breeding Ground for Flies’ and the live set ‘No Eden Without Annihilation’, it just felt like the beginning of things. A band can feel restrictive and one tends do things that just fit the image or profile, but now CONTRASTATE, it’s sound world and working process feels much bigger, more flexible and the world of music, sound and concepts seem to be expanding.
How was the selection of the bands that should take part in "Your Reality Is Broken"? Did you already think of a certain overall sound before?
The invitation to participate was limited to a select few artists/groups that CONTRASTATE had worked with in some shape or form over the last 30 years, either in the studio or on stage. We wanted the artists/groups to have a link to the history of CONTRASTATE that we were celebrating. An open invitation to any artists/groups who wished to participate would have made the release less personal and the compilation would have felt like any other generic compilation that had been released.
Given the diversity of the bands involved we did not have a preconceived idea of how the overall sound would be before release. Having said that we were pleasantly surprised by how well all the tracks flow and work with each other. The album feels like it could have been recorded by a single artist instead of the six different artists that are actually on the release.
„Assassinate En Arrière-Plan“ by ÉTAT D'URGENCE is indeed the first recorded track of the band ever. How could you convince the band that they really did break their principle of not recording music for "Your Reality Is Broken"?
We met MARCEL and ANDREAS at a festival in Geneva that a friend organised in 1988, they were already passionate Marxists who wanted to create revolutionary noise based music that affected the nervous systems of the audience and provoked them into radical activity. They had no interest in the musical culture of the time, we loved THE YOUNG GODS, they thought they were sell-outs. As far as we know they created music in secret and did obscure political gigs in villages in Switzerland and occasionally going to sympathetic political cultures like Cuba and Venezuela.
We have been trying for years without success to get them to either go into the studio to record their material or at least allow someone to release some of their recordings of their live shows. However, I think the invite for our 30th anniversary compilation proved to be decisive. They couldn’t say no without upsetting us. Hopefully this means they have mentally turned a corner and will not see it as breaking one of their principles, but instead one of adapting to new circumstances. We would love to see more of their material made public.
What are your feelings about it when other bands are working with your sound material?
We found it an honour. We liked GENOCIDE ORGAN’s version of “Son Of Sam” so much that we did a cover of it at the TESCO-Festival in 2017.
It was interesting to see how each artist/group approached the project. All of the artists were different and had their own unique style. It was pleasantly surprising to hear the results once they came in as all the tracks sounded as though they were recorded by one artist with a single purpose.
What are your further plans?
We will continue working on a “giallo film” inspired project that will become our next full length studio album. A limited 7” vinyl single containing two tracks from these sessions will be released in the summer as a preview to the new album. The two tracks are excerpts from longer tracks and have a slightly different mix to the album versions.
We are also planning to work with RALF WEHOWSKY (RLW) and STEVE PITTIS (DIRTER/BAND OF PAIN) again on interpretations of JOHN CAGE and KARLHEINZ STOCKHAUSEN pieces. Our CAGE piece has been recorded and we are in the early stages of discussing how to approach the STOCKHAUSEN piece.
The third member STEPHEN POMEROY has retired from touring and now the challenge for us this year will be to come up with a live set that is adaptable for performing with two CONTRASTATE members in smaller venues. Our main live set has been mainly been performed at larger festivals and takes a lot of time to prepare.
Tony F. für nonpop.de
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