Meltem
Did you ever thought that music
isn't really a subject in the arts? Or it isn't in the arts because
of its lack of visual images. Well, for me music has no conflict with
the arts. It's a part of the art history if you tell me. They have an
immense connection. Music creates visually images in your mind, even
an artist can't reproduce those images into perfect images in real
life. That's the reason too why I admire the human brain, it develops
personally images of the times you lived in a specific time line.
What would those images be? Maybe scenario's you make with your loved
one by going to a honeymoon trip or imagining a t-Rex as a pet, I
don't know, everything can and everybody has their own expectations
and imaginations. We live in an area that art contains everything,
science and art included.
Therefor, music can bring you anywhere and Rudi Araphoe gave me that possibility to be myself. A very talented artist with a great eye for the art and his music is so gracious that you'll feel yourself like a plume, just floating in a distance and feeling relaxed. The other side that Rudi's music makes me think is our existence or in better words, the reality we live in.
Therefor, music can bring you anywhere and Rudi Araphoe gave me that possibility to be myself. A very talented artist with a great eye for the art and his music is so gracious that you'll feel yourself like a plume, just floating in a distance and feeling relaxed. The other side that Rudi's music makes me think is our existence or in better words, the reality we live in.
Could you introduce yourself?
I am a composer, sound artist and designer who is based in the UK. My musical compositions typically deploy classical chamber music instruments such as piano, soprano voice, violin, bells, harp, clarinet, flute; whilst also featuring extensive use of contemporary sound design that is created through the use of field recordings and unreliable, ageing synthesizers; that are later processed with modern software tools. Prior to living as I do today, I studied Psychology at an English university, before working in Soho London as a sound designer in the British film industry. These two somewhat unrelated life experiences seem to have melded together to make me who I am today.
I am a composer, sound artist and designer who is based in the UK. My musical compositions typically deploy classical chamber music instruments such as piano, soprano voice, violin, bells, harp, clarinet, flute; whilst also featuring extensive use of contemporary sound design that is created through the use of field recordings and unreliable, ageing synthesizers; that are later processed with modern software tools. Prior to living as I do today, I studied Psychology at an English university, before working in Soho London as a sound designer in the British film industry. These two somewhat unrelated life experiences seem to have melded together to make me who I am today.
How did you get involved with music?
When
I turned 18 I left my parents home for a year abroad in China. In
China I was taught to play the guitar by a generous music teacher at
Jinfan Middle School Suzhou. When I returned to the UK I began to
play the piano in the practice rooms at my university, and then
slowly I became very interested in music technology and the
possibilities that it offers. Back then I had little knowledge of
computers so I sequenced my ideas together using a Yamaha QY700
before recording them with musicians in a studio.
Who
are your inspirational artists in the music world and who may you
look up to?
Oh
there are so many great artists in my genre... I admire Robin
Rimbaud
(Scanner) for his ability to bridge the art and musical worlds,
whilst intelligently working in the commercial sphere; Susumu
Yokota
for his restless, compound invention and Geir
Jenssen
(Biosphere) for his strength and concentration.
"Over
the past eight years my output has become increasingly sparse and in
a sense reflective of my own lifestyle. "
How
would you like to describe your music? Does it have a specific
category name for it?
Over
the past eight years my output has become increasingly sparse and in
a sense reflective of my own lifestyle. I spend a lot of time alone
in my studio designing objects, composing music and doing the various
administrative things that need to be done to maintain the smooth
running of my life and business. I've found that I'm increasingly
composing more and more music that I enjoy listening to whilst
working on non musical things. So perhaps I could call it
facilitative music for designers, office workers and artists. Music
that provide a pleasant backdrop for contemplation, organization and
creation. Perhaps the most unusual element of my music is the cold
eroticism that bubbles up in compositions such as Double Bind and
Conversation Piece; I guess even office workers thoughts drift away
to pleasant and unpleasant places.
Do
you have plans for a new album or another release?
Yes,
I've written a lot of music since 2008 and released very little of
it. I'm currently working with a very ambitious and experimental
sacred music duo from NYC called Ariadne (link
→ http://www.ariadnesound.com/
)
Whilst
simultaneously composing a series of long, spacious compositions for
wind instruments that I will release as a solo project.
"Whether
reviewing a visual artwork, film, novel or musical creation, I am
always looking for a mystery at the heart of it. I always want an
ambiguity, I hate resolution and I hate to be left sated."
Would
you like to share us your thoughts about music and art? Do you think
that music and art has a connection or not at all?
Whether
reviewing a visual artwork, film, novel or musical creation, I am
always looking for a mystery at the heart of it. I always want an
ambiguity, I hate resolution and I hate to be left sated.
Do
you have specific artworks that you admire? Could you share your
thoughts about those artworks? Why do you like them or what do you
see in them?
I'm
very drawn to Juan Munoz's work.
When I look at these figures I feel like they are telling me
something about my looking. Though I can never get the same
perspective as the character, so they become like a mirror that can
not reflect; I leave knowing less that I did, just fifteen minutes
prior. Kobe Abe's The
Box Man
also left a profound impact upon me.
“In
seeing there is love, in being seen there is abhorrence. One grins,
trying to bear the pain of being seen. But not just anyone can be
someone who only looks. If the one who is looked at looks back, then
the person who was looking becomes the one who is looked at.”
Equally,
R.D. Laing's 'Knots' left a lasting impression;
One
is inside
then
outside what one has been inside
One
feels empty
because
there is nothing inside oneself
One
tries to get inside oneself
that
inside of the outside
that
one was once inside
once
one tries to get oneself inside what
one
is outside
to
eat and to be eaten
to
have the outside inside and to be
inside
the outside
I
assume that the cover art for your album “Echoes from one to
another” is by Piero Roi? What did you like about Piero Roi's
artworks? Why did you choose this image/artwork for your album cover?
The
inner sleeve of 'Echoes from One To Another' was created by JeanieTang, an interdisciplinary artist and
member of the experimental band 'Dapplegray'. I felt she was an
idealized protagonist for the story within 'Echoes From One To
Another'.
Piero and I met shortly after 'Echoes...' was complete. At that time he
made a series of photographs of myself called 'The Conversation'.
"Last
time we met was in Valencia, I remember that day because it was so
sunny; the city magnificent; we were so leisured, moving from cafe to
cafe; he was accompanied by his talented, beautiful assistant and
collaborator Francesca Mele and I was with my wonderful partner
Charlotte. I think we all felt a million dollars that day."
'The conversation' by Piero Roi (2008)
He
is extraordinarily nomadic, every time our paths cross he seems to be
living and working in a new location. Last time we met was in
Valencia, I remember that day because it was so sunny; the city
magnificent; we were so leisured, moving from cafe to cafe; he was
accompanied by his talented, beautiful assistant and collaborator
Francesca Mele
and I was with my wonderful partner Charlotte. I think we all felt a
million dollars that day.
I
have noticed that the cover art for the album “Double Blind” is
Rorschach art. Why did you choose that specific idea or art for this
album? Who's the maker of this cover art?
The
Double Bind artwork was created by Jessica Grant. My early education
was rooted in Psychology, at 19 years of age it was my plan to become
a Psychologist; I was later deterred from taking this route by
reports of stringent, restrictive, unpleasant working conditions in
the UK NHS. I made a good decision, I would have been a terrible
practitioner, but maybe a good theorist. I continue to read deeply
around the subject and find a deep wellspring of inspiration in early
psychiatry. Gregory Bateson's Double Bind theory was key touchstone
for the EP. The theme was chosen because it gives a very clear visual
link from early psychiatry to the compositions. The Rorschach ink
blot that Grant developed for the cover art was her interpretation of
the music. Everyone sees something different in it. Much like the
complex make-up of a Double Bind.
How
do you see yourself in the future? What's your goal?
In
the past I hungered for freedom. I now have it and a great deal of
control over my life, but I still crave more freedom and more time.
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