– When I was in school I studied contemporary art and I was always interested in the ideas of land artists such as Robert Smithson or Nancy Holt from 1960s, who were really concerned with the ideas of site, non-site and what does it mean to take an object or element from a site and relocate it elsewhere. I became interested in those sorts of ideas applied to music and acoustics – says artist and composer, Lea Bertucci
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Wacław Zimpel: follow the moment
– Rather than the instrument itself, what’s important is whether you find an idea for it and whether it meets your expectations concerning the music you want to play – says clarinettist and composer Wacław Zimpel.
Piernikowski: impersonating other people within a single person
– I stand in front of the microphone and build up the narrative, line after line. I enter into a dialogue with myself or with someone else. All these albums are about impersonating other people and entering into a dialogue, creating a multitude of threads within a single person. I create someone who is me, but as if being someone else. Ultimately, all the figures are me – says Robert Piernikowski.
SOTE: sonic deconstructor
– I spent most of my life outside of Iran. This was never my choice, so I felt a sense of void or longing for my homeland. In my mid-twenties, I started listening to more and more traditional Iranian music, until I felt like it was time for me to come up with some sort of Iranian music in that electronic synthesis framework – says Iranian composer SOTE.
Gaye Su Akyol: musical counter-reality
– After the 1980 military coup – a very important and sad moment for Turkey – everything changed in a very bad way. After the coup,
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Shabaka Hutchings: culture as a mirror
– The culture that surrounds you will always have an impact on one’s artistic endeavours since you embody all which you come into direct contact with culturally. Even if this embodiment is manifested in its opposing or mirror image, one’s attempt to negate a surrounding culture will still be formed by the culture itself – speaks the saxophonist and clarinetist Shabaka Hutchings,
Chúpame el Dedo: evil on the dancefloor
– The best way to communicate some kind of art in this world built on global invasion is to keep the local and make it global – instead of taking global things and making them local – speak columbian duo Chúpame el Dedo.
Amirtha Kidambi: music of reaction
I basically felt that even on a personal level, for myself and my own sanity, on “From Untruth” I needed to express some things very directly. I love abstract and instrumental music and improvising without lyrics, but there’s something about the moment and what is happening that made me want to put out some kind of a reaction.
Sunwatchers: culture and art inseparable from political thought
If we don’t attach that gravity to it, it’s meaningless and we refuse to contribute to the morass of abstraction within music – we don’t dedicate our lives to just merely be entertainers for wealthy people. We use our music and our platform that we have in order to generate progress and further our conditions and beliefs as people, politically and otherwise.
Maurice Louca: I want to approach the feeling of being in a band
„I became bored with the guitar, so I tried to make it sound like something else. Finally, I got something else – I bought a synthesizer, drum machine and after a few years… I came back to the guitar. If I play it now, I like it to have a clean sound, I don’t use a lot of effects because I actually missed the guitar itself, its sound. On Elephantine I play the guitar again. In a way I think that was kind of being inspired by an instrument again.”