ON THIS RECORD JIM GETS A CO-CREDIT BUT IS KEEN TO PLAY DOWN HIS ROLE IN MAKING THE WORK OF A HERO (AND THE WIFE OF A HERO) COME TO LIFE:
Brunhild Ferrari was kind to me even back then.
That’s so nice.
Yeah I don’t understand. She was always really nice to me. I mean I never got to know Mr. Ferrari much at all—I only really met him once or twice—but she was always kind to me. Still is.
You had that album with her from this year.
It’s from a couple years ago but it was released this year, yeah.
Had you two ever worked on music together before?
No, it was really just a concert. It’s really just a live show. Basically, it was pieces of hers—tape—with a person improvising. Like a lot of pieces Luc made, it was basically that. She was playing the tape and I was improvising. So really it was as simple as that. I never actually worked with her, I just did the shows with her.
Can you share how she was looking out for you?
She would make sure I was OK. I really had so little French and—maybe it's changed—but if you’re in Paris with no French, you're going to be ignored real quick (laughter).
I CAN CONFIRM: I HAVE TRAVELLED THROUGHOUT FRANCE EXTENSIVELY OVER THE LAST DECADE AND THE ONLY PLACE MY DEPRESSING MONOGLOTTALISM HAS GIVEN ME TROUBLE IS PARIS.
THE SOUND OF THE RECORD IS AS THE TITLE SUGGESTS - PRE-RECORDED PIANO IS ENGULFED BY WAVES OF SOUND TAKEN FROM FIELD RECORDINGS OF THE SEA AND WEATHER AND MIXED WITH DRONING ELECTRONICS AND FIZZING SYNTH NOISES. EFFECTS SWEEP IN AND OUT, BAKING THE WHOLE SOUND TOGETHER: A PIANO INSIDE THE OCEAN, OR A TORNADO TAKING PLACE INSIDE THE LAPTOP.
I LIKE IT AND IT DOESN'T SOUND LIKE A MERE LIVE SET GUSSIED UP.
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