sopor吧 关注：3,858贴子：49,261
- 9回复贴，共1页
8. When there’s an instrumental part in a song, is that a way for you to translate what the "blank" of the poem makes you feel, a manner to catch the listener’s attention on something that he could not notice, because "nothing is written" between the verses?
AVC: Yes. I remember a similar question from a German magazine ... only with a more negative attitude ... regarding the song " To walk behind the Rows " from CHILDREN OF THE CORN. They actually suggested that I had run out of words half way through the track. I mean, imagine. What they obviously didn't know or understand was that, even without words, you can still tell a story ... simply by choosing your orchestration, your instruments accordingly. There is atmosphere, melody ... all these things. They all have meaning. They transport information. They are not just pretty noise, you know.
In " Dreamland ", for example, there is a reoccuring instrumental phrase that has the same function of a chorus in a popsong. It repeats and emphasises the essence of the song. Naturally, the is no such thing as a chorus in the original poem ... so here the instrumental part gives you space ... and time ... it allows for you to let, what you have just heard, sink it. -- You know, space is important in music. It's not just the notes.
9. Why have you chosen to make an instrumental version of " Alone II " whereas there wasn't one on VOYAGER? How do you perceive the link between the two parts of this song?
AVC: That just happened. It needed a twin brother. That's how it wanted to materialise. It was just too complex for just one entity. It's...umm...as I just said: instrumental music does transport information as well. So, just listen to it, and maybe you'll figure it out.
10. Are there other poets you would like to explore through your music?
AVC: Hmm. No. Not really.
11. Could you tell me some words about the booklet which goes with the CD? I didn't have a chance to see it yet. Whom did you work with, to create it?
AVC: Well, there are actually two entirely different editions ... the vinyl version and, as you just said, the CD book. The vinyl cover features an older photo from the HAVE YOU SEEN THIS GHOST session, which was photographed by Ingo Römling, and that was later transformed by Natalie Shau. It also comes with two posters and a booklet of wonderful black & white illustrations by Keith Thompson, which are somewhat reminiscent in style of Harry Clarke's POE drawings. It's all really beautiful and otherwordly, if you wish.
The CD book, on the other hand, features 156 pages of mere photos. It's not meant to be particularly artistic. It's just ... photos ... if that makes any sense to you. It's not supposed to be a visual translation of the poems. It's more like a simple, private photo-album.
12. What’s your favourite of Poe’s poems? I feel something very strong with " The Sleeper ", when I’m listening to your version…
AVC: My favourite poem had always been " Dreamland " ... but that is not true anymore, because now it is POETICA in its entirety. That may sound odd or even arrogant, but I don't mean it like that. It's an entity of its own now. POETICA is my very own connection to POE. The spirit of POE.
13. What does it mean for you to end this album with " A Dream within a Dream "? The most lightful, and maybe the most moving song of all, for me… Which personal feeling does it reveal? A desire to leave life and vanish into the light?
AVC: " A Dream with a Dream " was the only possible conclusion of the album. It's the moment when I cannot hold back my tears any longer. There is a moment in " The Haunted Palace " when everything becomes quite and there is the sound of wind blowing over the tops of the ruins, and that's when there is a chill running down my spine, literally. I can feel my heart in my throat ... everything gets pulled together inside of me ... and when the first notes of " A Dream within a Dream " start, I can feel the tears running down my face. Every single time. It is a very sad song.
14. You had told me, when CHILDREN OF THE CORN was released, that every piece of your work was like a seed that you could watch growing. What do you feel now when you’re listening to A TRIPTYCHON OF GHOSTS?
AVC: I still like it, fortunately, but of course it's completely different than POETICA . "Ghosts" was meant as a sexorcism. It is naughty, ironic, sarcastic all that ... and in comparison almost loud . POETICA is the exact opposite of that.
15.Do you regularly come back and listening to the previous works you've made or is there a detachment phenomenon for you, once a thing's done?
AVC: Both. I do feel detached from my old recordings ... like they were done by someone else and not me ... and whenever I listen to them ... for that reason ... I am therefore always surprised at how complex the songs are, and how insightful. It's strange, really. I go like: gosh, it's really brilliant. How did he know? Ah, well...and then I remember.
16. Have you started to work on new material ?
AVC: Gosh, you're nosy. Umm, yes, I actually have recorded another album. Now you know. And if it goes to plan it will be out in February.这也好萌233
17. Thank you for your answers... I guess that you hate interviews and that it seems useless for you to explain something that we should be able to feel when listening to your music... Would you say there's a part of you suffering when you face promotional obligations? ;)
AVC: It's not that I expect people to understand any of the SOPOR albums, what they are about, or even to feel what I feel. That's silly, ridiculous. That is impossible. No, the reason why I find interviews that are meant to promote an album, so extremely difficult ... if not to say down right annoying ... is because all I wanted to say, all I needed to express, has been said on the album in question. In other words, when an album is completed, I have nothing left to say. So, each time I receive questions from magazines, my reaction is always: Gods, can't you just listen to the album and leave me the fuck alone?!? -- Haha, That's it, there you have it. Sorry. ;)这个简直2333333333333333I
AVC: Yes. I remember a similar question from a German magazine ... only with a more negative attitude ... regarding the song " To walk behind the Rows " from CHILDREN OF THE CORN. They actually suggested that I had run out of words half way through the track. I mean, imagine. What they obviously didn't know or understand was that, even without words, you can still tell a story ... simply by choosing your orchestration, your instruments accordingly. There is atmosphere, melody ... all these things. They all have meaning. They transport information. They are not just pretty noise, you know.
In " Dreamland ", for example, there is a reoccuring instrumental phrase that has the same function of a chorus in a popsong. It repeats and emphasises the essence of the song. Naturally, the is no such thing as a chorus in the original poem ... so here the instrumental part gives you space ... and time ... it allows for you to let, what you have just heard, sink it. -- You know, space is important in music. It's not just the notes.
9. Why have you chosen to make an instrumental version of " Alone II " whereas there wasn't one on VOYAGER? How do you perceive the link between the two parts of this song?
AVC: That just happened. It needed a twin brother. That's how it wanted to materialise. It was just too complex for just one entity. It's...umm...as I just said: instrumental music does transport information as well. So, just listen to it, and maybe you'll figure it out.
10. Are there other poets you would like to explore through your music?
AVC: Hmm. No. Not really.
11. Could you tell me some words about the booklet which goes with the CD? I didn't have a chance to see it yet. Whom did you work with, to create it?
AVC: Well, there are actually two entirely different editions ... the vinyl version and, as you just said, the CD book. The vinyl cover features an older photo from the HAVE YOU SEEN THIS GHOST session, which was photographed by Ingo Römling, and that was later transformed by Natalie Shau. It also comes with two posters and a booklet of wonderful black & white illustrations by Keith Thompson, which are somewhat reminiscent in style of Harry Clarke's POE drawings. It's all really beautiful and otherwordly, if you wish.
The CD book, on the other hand, features 156 pages of mere photos. It's not meant to be particularly artistic. It's just ... photos ... if that makes any sense to you. It's not supposed to be a visual translation of the poems. It's more like a simple, private photo-album.
12. What’s your favourite of Poe’s poems? I feel something very strong with " The Sleeper ", when I’m listening to your version…
AVC: My favourite poem had always been " Dreamland " ... but that is not true anymore, because now it is POETICA in its entirety. That may sound odd or even arrogant, but I don't mean it like that. It's an entity of its own now. POETICA is my very own connection to POE. The spirit of POE.
13. What does it mean for you to end this album with " A Dream within a Dream "? The most lightful, and maybe the most moving song of all, for me… Which personal feeling does it reveal? A desire to leave life and vanish into the light?
AVC: " A Dream with a Dream " was the only possible conclusion of the album. It's the moment when I cannot hold back my tears any longer. There is a moment in " The Haunted Palace " when everything becomes quite and there is the sound of wind blowing over the tops of the ruins, and that's when there is a chill running down my spine, literally. I can feel my heart in my throat ... everything gets pulled together inside of me ... and when the first notes of " A Dream within a Dream " start, I can feel the tears running down my face. Every single time. It is a very sad song.
14. You had told me, when CHILDREN OF THE CORN was released, that every piece of your work was like a seed that you could watch growing. What do you feel now when you’re listening to A TRIPTYCHON OF GHOSTS?
AVC: I still like it, fortunately, but of course it's completely different than POETICA . "Ghosts" was meant as a sexorcism. It is naughty, ironic, sarcastic all that ... and in comparison almost loud . POETICA is the exact opposite of that.
15.Do you regularly come back and listening to the previous works you've made or is there a detachment phenomenon for you, once a thing's done?
AVC: Both. I do feel detached from my old recordings ... like they were done by someone else and not me ... and whenever I listen to them ... for that reason ... I am therefore always surprised at how complex the songs are, and how insightful. It's strange, really. I go like: gosh, it's really brilliant. How did he know? Ah, well...and then I remember.
16. Have you started to work on new material ?
AVC: Gosh, you're nosy. Umm, yes, I actually have recorded another album. Now you know. And if it goes to plan it will be out in February.这也好萌233
17. Thank you for your answers... I guess that you hate interviews and that it seems useless for you to explain something that we should be able to feel when listening to your music... Would you say there's a part of you suffering when you face promotional obligations? ;)
AVC: It's not that I expect people to understand any of the SOPOR albums, what they are about, or even to feel what I feel. That's silly, ridiculous. That is impossible. No, the reason why I find interviews that are meant to promote an album, so extremely difficult ... if not to say down right annoying ... is because all I wanted to say, all I needed to express, has been said on the album in question. In other words, when an album is completed, I have nothing left to say. So, each time I receive questions from magazines, my reaction is always: Gods, can't you just listen to the album and leave me the fuck alone?!? -- Haha, That's it, there you have it. Sorry. ;)这个简直2333333333333333I
