Progarchives.com Homepage
Forum Home Forum Home > Progressive Music Lounges > Interviews
  New Posts New Posts RSS Feed: Richard Pinhas (Heldon) interview Sept 09
  FAQ FAQ  Forum SearchSearch  Calendar   Register Register  Login Login

Topic ClosedRichard Pinhas (Heldon) interview Sept 09

 Post Reply Post Reply
Author
Message
philippe View Drop Down
Special Collaborator
Special Collaborator
Avatar
Content Development & Krautrock Team

Joined: March 14 2004
Location: noosphere
Online Status: Offline
Posts: 3575
Direct Link To This Post Topic: Richard Pinhas (Heldon) interview Sept 09
    Posted: October 03 2009 at 09:33

Richard Pinhas biography


Electronic music pioneer and leader member of the legendary Heldon, Richard Pinhas also has a prolific career in solo. In 1977 he released his first essay called "Rhizosphère" (whose name is inspired by G. Deleuze philosophy). The content is largely made of cerebral-obsessional electronic loops. Guitars are more discreet and the music is progressively getting more and more into a lysergic post-modern space odissey. The magnetic and seductive "Chronolyse" (1978) is a little classic and a good example of Richard Pinhas' hability to explore the complex droning quality of electronic sound textures. The hypnotic and entrancing "Events and Repetitions" (2002) can be considered as the French answer to Eno/Fripp collaboration in the minimalist ambient spectrum. The last opus "Metatron" (2006) perfectly combines Richard Pinhas guitar style (in the vein of Robert Fripp's weird manipulations) to sonic cyclical electronics. Outside of his solo career richard pinhas also founded the project «schizotrope» and released several CDs in collaboration with numerous artists such as Peter Frohmader (Fossil Culture, 1999), Pascal Comelade (Obliques Sessions II, 1999). Highly recommended for those who like sci-fi psych jamming, Heldon's propulsive neurotic-electronics and Eno/ Fripp duet.
See also: Heldon - Spacecraft - Flamen Dialis - Lard Free - Zed


Richard Pinhas (Heldon years)




:::INTERVIEW::: (Paris, 25-09-09)


Philosophe-Deleuzien, écrivain, compositeur et guitariste, Richard Pinhas a été le fondateur et leader du groupe légendaire HELDON. Il figure également comme le précurseur français des musiques électroniques expérimentales et cristallographiques, peuplées de « nappes paradoxales , hypnotiques, hallucinatoires ». Richard Pinhas a proposé des oeuvres qui se veulent stylistiquement proches des enregistrements du duo Eno / Fripp tout en proposant un magma rock et électronique fait de sensations et de pulsions incertaines, parfois splendides.

P.B : Rétrospectivement, quel a été le déclencheur, le commencent de l'odyssée musicale Heldon ?


R.P : Au début il y avait un groupe de blues, les « blues convention » que j'avais monté avec celui qui est devenu le premier chanteur de magma Klaus Basquiz. Au bout d'un an ou deux on s'est arrêté car on ne s'entendait plus, non pas avec Klaus qui est resté un bon copain mais avec les deux autres. Parallèlement à mes études à la faculté j'ai pensé à faire de la musique plus « sérieusement ». J'ai monté un groupe qui s'appelait schizo, une sorte de préambule à Heldon. Un premier disque a été publié et distribué gratuitement en X milliers exemplaires suivi d'un deuxième album de soutien à la RAF, sans être pour autant léniniste (rires). En 1971/72 il y a les cours de Deleuze que je découvre un peu par hasard. Je dis par hasard car la rencontre avec Deleuze s'est faite lors de la soutenance de thèse de Lyotard. Je commence à suivre ses cours, je commence à le lire puis ça me tombe dessus car c'est vraiment impressionnant. Parallèlement il y a le groupe qui commence à se former autour de deux, trois amis, principalement Patrick Gauthier qui va rester puis il va y avoir rapidement une formation stable qui se fera avec François Auger à la batterie, Didier Batard à la basse et Patrick Gauthier aux synthés. J'ai décidé de mettre fin à l'entité Heldon même si c'était une entité variable parce que les deux membres avec lesquels je tournais le plus souvent avaient décidé d'arrêter. Je me suis dis que j'allais continuer seul. J'avais déjà commencé à faire des disques solo, il y avait plus trop de différence entre ce que je faisais et ce qui était publié sous le Heldon. Le dernier disque d'Heldon est Stand By (1979). Dès le départ il est sorti dans huit ou neuf pays y compris le Japon parce que c'était chez Barclay.

P.B: Comment expliques-tu la résurrection d'Heldon au début des années 2000. Quelles ont été les retombées médiatiques?

R.P: on avait un beau budget et la maison de disques nous a laissé le temps, c'est cadeau...et comme ça n'arrive que rarement. En plus la base du groupe était là. Par contre la sortie du disque Only Chaos is Real (concept basé sur le thème de "l'entropie sociale" de Markowitz) n'a pas marché...et puis comme Dantec ne voulait plus faire de scène on a préféré arrêter.

P.B : Quels sont pour toi les albums phares ?

R.P : Sur la première période, entre 1972 et 1984 certains albums, je ne peux dire ça que après-coup, bien entendu, me paraissent être assez mauvais, à tout le moins « secondaires », c'est-à-dire que aujourd'hui je ne les referais pas, je ne les trouve pas très bons, par exemple le Heldon 2 et le Heldon 3, voire le Heldon « Agneta nilsson ». Mais certains restent vraiment très bons, voire des références dans le monde de l'électro-acoustique, je pense à « Interface » ou à « Stand By ». « Un rêve sans conséquence » a été une véritable révolution si on repense à sa date de parution, 1976. Ça a été un peu le début de la musique industrielle à la Throbbing Gristle. « Le voyageur » (sur un texte de Nietzsche avec la voix de Gilles Deleuze) est un morceau qui est devenu ce qu'on appelle un classique, je ne sais pas pourquoi. Toujours est-il que tous les disques ont été continuellement présents sur le marché, si on englobe les USA et le Japon aux territoire européens. En fait il n'y a de problèmes que en France... Nul n'est prophète etc... Sinon à partir de 1999, l'expérience schizotrope et les albums solo, il y en a de plus ou moins bons, de plus ou moins définitifs, mais rien que je ne regrette vraiment. Le Label Captain Trip au Japon va ressortir "De l'Un et du multiple" en octobre prochain, c'est un album que j'aime particulièrement. Et puis il y a les collaborations, celles passées et celles à venir comme avec Merzbow. Il y a aussi la scène qui a repris à un niveau intéressant : en 16 mois je serais allé jouer 2 fois au Japon, deux fois au Canada, la tournée USA et quelques concerts en Europe. Non si il y avait à revenir sur certaines choses ce serait dans les premiers albums que je supprimerais pas mal de choses. Ce qui est bizarre c'est que le public et Cuneiform (ma maison de disque) n'ont pas du tout les mêmes idées : des albums comme « Allez teia » ou « it's only rock n roll » ont été plébiscités alors que, initialement je ne voulais pas les ressortir. Est-ce de l'incohérence ou bien est ce plutôt la décision que ce n'est pas à moi de juger. En tout cas les derniers cds comme « Metatron » ou « Tranzition », sont parmi ceux que je préfère. Je pense avoir atteint, avec « Metatron », une sorte de « plateau » de composition qu'il sera très difficile de maintenir. L'expérience « Schizothrope » a également été très bénéfique, mais trois albums c'est bien, suffisant. Il faut savoir se renouveler quitte à en payer le prix, à savoir demeurer silencieux un certain moment. Le plus difficile dans la vie d'un musicien c'est ça: LE SILENCE.

Au début de Heldon la scène électronique mondiale était très pauvre: le krautrock en Allemagne, Eno en Angleterre, Yellow Magic au Japon et quelques américains aux MOOG synthetiseurs et on aura tout resumé. C'est étonnant comment aujourd'hui lorsqu'on parle de groupes français aux USA, au Japon, c'est toujours Magma et Heldon qui reviennent, parfois Daft punk (que j'aime bien). Tout le reste est vraiment inexistant, bien entendu indépendamment de mes goûts musicaux propres. C'est avec les années 80 que la musique synthétique s'est étendue jusqu'à devenir parfois n'importe quoi, c'est-à-dire de la musique de supermarché. La technologie à portée de bourse, contrairement à ce qu'on aurait pu croire, n'a pas permis l'éclosion de plus de musique au sens noble du terme. Il ne suffit pas d'avoir un apple « chez soi pour faire de la musique, on fait "plof plot" ou "tictic", en fait on élargit le marché, la consommation de masse. mais là il faudrait entrer dans une vaste analyse critique de tout le système avec la production sonore comme exemple de base. Tout est noyé dans le « tout s'équivaut », mais ce processus nous guettait depuis longtemps. En conclusion, en ce qui concerne la musique électronique, malgré une débauche incroyable de moyens technologiques, peut-être y a-t-il beaucoup moins de création sonore, de "véritable" composition aujourd'hui qu'il y a trente ans. On est beaucoup plus dans la « reproduction », dans le retour du Même, Identique. La musique pourrait
se nourrir d'un excédent négatif, plus de moins ou plus de rien... mais heureusement, ici ou là, rarement mais toujours, naissent des îlots de création, des points sur le plan de composition sonore, qui involontairement parfois, renforce le Process lui-même, le plan de composition sonore.

P.B : Quelles sont les rencontres personnelles et artistiques qui ont été décisives au cours de ton parcours ?

R.P : Musicalement Robert Fripp a été quelqu'un de très important. J'ai eu la chance de le rencontrer à plusieurs reprises puis d'assister à toute l'ascension de King Crimson. mais j'ai été peut-être plus impressionné par la musique avant les concerts de King Crimson. par les bandes de Fripp et Eno qui passaient en fond sonore, parfois même des choses qui ne sont jamais sortis en disque. Ça m'a beaucoup marqué à cette époque vers 1973 / 1974. et évidemment Deleuze. À par cela j'ai croisé Lacan, Foucault. un peu comme tous les petits veinards de l'époque.

P.B : Peux-tu me présenter l'imaginaire littéraire et esthétique foisonnant qui a nourri et rehaussé l'univers musical d'Heldon ?


R.P : Le nom d'Heldon vient d'un livre de science fiction de Norman Spinrad : « le rêve de fer ». C'est le nom d'un pays imaginaire dirigé par une sorte de dictateur (Feric Jaggar).sinon en ce moment j'aime bien la littérature américaine avec Faulkner, Woolman (.)


P.B : Dans le Paris des années 1970, quels sont selon toi (les groupes ou artistes) qui ont le mieux contribuer à imposer les adjectifs « nouveau » et « progressif » à la scène musicale française?


R.P : Où que tu ailles à l'étranger il y a toujours un nom et demie qui reviennent toujours c'est Magma puis après Heldon. Il y a Univers Zero, ça revient aussi beaucoup mais ils sont belges. Tout ce que je peux dire c'est que la figure de proue c'est Magma et c'est mérité sur la durée. Ils ont une aura.et ont su imposé un style.

P.B : Quel est aujourd'hui l'héritage d'Heldon sur la jeune génération ?


R.P : Je ne revendique rien du tout mais lorsque je vois les gens de Wolf Eyes ou de Merzbow, etc. disent on t'écoutait.pour moi c'est un honneur, je suis plutôt étonné.et puis après on devient amis, c'est peut-être pour cela qu'on a aussi fait des choses ensemble.sur le prochain album il y aura également Wolf Eyes et Merzbow.


P.B : Quel a été pour toi le rôle des minimalistes post-modernes et des chercheurs en électro-acoustique dans l'avant-garde musical? Est-ce qu'ils t'ont influencé dans tes travaux ?


R.P : Si tu parles de Philip Glass et de Steve Reich, c'est certain que ce sont des figures marquantes musicalement. J'avais découvert Philip Glass au tout début des années 1970. Avant ça j'avais écouté un peu Stokhausen.il faut aussi se rappeler que la première « d'Einsten on the beach » a été faite à Paris.

P.B : Avec des références répétées à la philosophie de Gilles Deleuze tu as donné à ta musique une sorte de dimension conceptuelle mais également tactile (physicalité des sons dans leur mouvement ondoyant, leur staticité.). Sur le plan de la composition comment procèdes-tu pour retranscrire par les sons ce travail de taille effectué par Deleuze sur des concepts fourmillants ?


R.P : « Plan de composition sonore », « plan de composition du désir », « plan d'immanence » les concepts fondamentaux de différence et de répétition. Tu as tout Deleuze et toute l'histoire de la musique en même temps. Quand il parle de blocs de durée il est évident que c'est à mettre en relation quasi évidente avec les blocs sonores.et le travail des musiciens d'aujourd'hui c'est un travail sur la matière, ce ne sont plus les formes ou les signifiants qui comptent. Ce qui compte fondamentalement c'est le travail sur le matériau, la matière travaillée, en devenir. Ce qui compte c'est le « process ». Le terme de « process » peut s'appliquer aussi bien en philosophie qu'en musique.mais moi je fais absolument aucune différence en musique, un solo de guitare bien rock peut être aussi jouissif qu'une composition très achevée.

P.B : Dans le livre « mille plateaux » j'ai relevé le concept de « synthétiseur de conscience ». A propos de ce terme ton nom est cité en référence de bas de page. Est-ce que tu peux m'expliciter en quelques phrases le sens puis la place de cette expression dans le perspectivisme de Deleuze?


R.P : Oui c'est la « ritournelle » (motifs territoriaux). Deleuze travaillait par petites notes avec les gens.je lui ai fait une note sur les synthétiseurs, au sens de synthèse disjonctive en philosophie, les synthèses temporelles et le synthèses sonores. Je préfère être cité par Deleuze que par Fillon (rires).c'est devenu une telle nullité tout ça.Deleuze a marqué la philosophie du XXe siècle. Il figure dans le top 20.


Edited by philippe - October 09 2009 at 05:34
Back to Top
memowakeman View Drop Down
Special Collaborator
Special Collaborator
Avatar
Honorary Collaborator

Joined: May 19 2005
Location: Mexico City
Online Status: Offline
Posts: 12475
Direct Link To This Post Posted: October 03 2009 at 11:41
Hi Philippe,
 
I believe it would be nice if you translate that interview, since some of us do not understand French, so that would be helpful.
 
Thanks

Follow me on twitter @memowakeman
Back to Top
Mellotron Storm View Drop Down
Prog Reviewer
Prog Reviewer
Avatar

Joined: August 27 2006
Location: The Beach
Online Status: Offline
Posts: 7889
Direct Link To This Post Posted: October 06 2009 at 22:15
I'm a big fan, wish it was in English. Been listening to his solo album "Ice Land" this week.
"The wind is slowly tearing her apart"
"Sad Rain" ANEKDOTEN
Back to Top
Alberto Muñoz View Drop Down
Forum Senior Member
Forum Senior Member
Avatar

Joined: July 26 2006
Location: Mexico
Online Status: Offline
Posts: 3565
Direct Link To This Post Posted: October 07 2009 at 09:31
Originally posted by memowakeman

Hi Philippe,
 
I believe it would be nice if you translate that interview, since some of us do not understand French, so that would be helpful.
 
Thanks


Back to Top
philippe View Drop Down
Special Collaborator
Special Collaborator
Avatar
Content Development & Krautrock Team

Joined: March 14 2004
Location: noosphere
Online Status: Offline
Posts: 3575
Direct Link To This Post Posted: October 07 2009 at 10:55
ok , I will update the page with an english version as soon as possible...

Just for information, today I've met three members of the legendary symphonic prog band PULSAR.  This time I will manage to give an english translation of the discussion before to open a page.

thanks for your patience.


Edited by philippe - October 07 2009 at 10:56
Back to Top
Mellotron Storm View Drop Down
Prog Reviewer
Prog Reviewer
Avatar

Joined: August 27 2006
Location: The Beach
Online Status: Offline
Posts: 7889
Direct Link To This Post Posted: October 07 2009 at 21:58
Thanks philippe! Clap
"The wind is slowly tearing her apart"
"Sad Rain" ANEKDOTEN
Back to Top
philippe View Drop Down
Special Collaborator
Special Collaborator
Avatar
Content Development & Krautrock Team

Joined: March 14 2004
Location: noosphere
Online Status: Offline
Posts: 3575
Direct Link To This Post Posted: October 09 2009 at 14:46
Here it is, sorry for the bad translation


P.B: afterward, what was the release mechanism, the beginning of the musical odyssey Heldon?

R.P: at the beginning there was a group of blues, " blues convention " which I had been formed with the one who became the first singer of magma Klaus Basquiz. After one year or two we stopped because we did not get any more, not with Klaus who remained a good friend but with the two others. At the same time of my studies at the faculty I thought of making some music more "seriously". I formed a group which was called schizo, a kind of introduction to Heldon. A first disc was published and distributed for free of charge in X thousands exemplaries followed by a second support album for the RAF, without being Leninist at all (laughter). In 1971/72 there are the courses of Deleuze which I discover a little bit by chance. I say by chance because the meeting with Deleuze was made during the viva of Lyotard. I begin to follow his courses, I begin to read it then that falls on me because it is really impressive. At the same time there is a group I begane to form around two, three friends, mainly Patrick Gauthier who is going to stay then there is quickly a stable formation including François Auger on drums, Didier Batard on bass and Patrick Gauthier on synths. I decided to stop the entity Heldon even if it was a variable entity because both members with whom I was on tour decided to stop. I say to myself that I will continue alone. I had already begun to make disks in solo, there was not much difference between what I made in solo and what was published under Heldon. The last disk of Heldon is Stand By (1979). From the beginning it was published in eight or nine countries (including Japan...) because it was signed on Barclay's.

P.B: how would you explain the resurrection of Heldon at the beginning of the 2000s. What was the effects media?

R.P: we had a beautiful budget and the record company gave to us the time we need, it was a present and it happens rarely. Moreover the basis of the group was there. On the other hand the release of the disk Only Chaos is Real (concept based on the subject of the "social entropy" of Markowitz) did not work and then as Dantec did not want to make any more stage we preferred to stop.

P.B: For you what are the key albums? 

R.P: over the first period, between 1972 and 1984 certain albums, I can say that "after blow", naturally, appear to me to be rather bad, to say the least "secondary". It means that today I would not re-release them. for example "Heldon 2" and "Heldon 3", even "Agneta nilsson ". But some of them remain  very good, even references in the world of "electroacoustic music", I think about "Interface" or "Stand By". "A dream without special consequence" was a real revolution if we think about its publication date, in 1976. That prefigures the beginning of the industrial music with bands such as Throbbing Gristle. "The traveler" (based on a text of Nietzsche with the voice of Gilles Deleuze) is a piece which became what we call a classic, I do not know why. However all the disks were constantly available on the market, if we include the USA and Japan with the European territory. In fact there are problems only in France... Nobody is a prophet etc.... Otherwise from 1999, the experience "schizotrope" and the solo albums, there is of more or less good, more or less definitive albums, but nothing that I really regret. The Label Captain Trip in Japan has rereleased "Of the One and the multiple" an album which I like particularly. And then there are collaborations, notably a recent one with the noisy-experimental group Merzbow. Now if I had to go back on certain things it would be in the first albums, I would delete quite a lot of elements. What is strange it is that the public and Cuneiform ( my record company) has in no way the same ideas: Albums as " Go teia "or" of it rock only n roll " were approved by a large majority while, initially I did not want to re-release them. It is rather a decision where I can't be the judge. In any case the last cds "Metatron" or "Tranzition", are among those I prefer. I think of having achieved, with "Metatron", a kind of "tray"(plateau) of composition which it will be very difficult to maintain. The experience " Schizothrope " was also very beneficial, but three albums it's good, being enough. It is necessary to know how to be renewed even if it means "paying the price", namely remain silent during a moment. The most difficult in the life of a musician that's "The silence". 

At the beginning of Heldon the world of electronic music was very poor. We can only appreciate the krautrock in Germany, Eno in England, Yellow Magic in Japan and some Americans with the MOOG synthezisers and we have sum up things. It is surprising how today, when we speak about French groups to the USA, to Japan, it is always Magma and Heldon who are named, sometimes Daft Punk. All the rest is really non-existent, naturally independently of my musical tastes. It is with the 80s when the synthetic music extended until become sometimes anything or nothing, music for supermarket. The technology within everyone's reach, contrary to what we would have been able to believe, did not allow the hatching of more music in the noble sense of the term. It is not enough to have an "apple" at home to make some music, we make "plof plof" or "tictic", in fact we widen the market, the mass consumption. But there it would be necessary to enter into a vast critical analysis of all the system with the production sound as the basic example. Everything is flooded in it "everything amounts", but this process watched for us for a long time. In conclusion, as regards the electronic music, in spite of an incredible debauchery of technological means, maybe there is much less sound creation, "real" composition today than thirty years ago. We are much more in the "reproduction", in the return of the Same, Identical. The music could feed on a negative surplus, more at least or more of nothing but fortunately, here or there, rarely but always, arise from islands of creation which sometimes reinforce the process itself, the plan of sound composition.


P.B: what are the personal and artistic meetings which were decisive during your musical trajectory?

R.P: musically Robert Fripp was very important. I was lucky to meet him several times then to live all the ascent of King Crimson. but I was maybe more impressed by the music before the concerts of King Crimson, By the tapes of Fripp and Eno which passed in the background, sometimes things which were never been released on a disk. It has left a mark on this period (around 1973 / 1974). And obviously Gilles Deleuze. Excepted him I've met Lacan, Foucault. Just as all the lucky persons of this time.

P.B: can you present me the abundant literary and aesthetic imagination which fed and heightened the musical universe of Heldon?

R.P: the name of Heldon comes from a book of science fiction written by Norman Spinrad: "The iron dream". It is the name of an imaginary country governed by a kind of dictator ( Feric Jaggar). At the moment I like the American literature with Faulkner, Woolman (...)

P.B: in the Paris of the 1970s, according to you what are the groups or the artists which have the best contribute to impose the adjectives "new " and " progressive" on the French musical scene?

R.P: wherever you go abroad there is always one and a half name which always return it is Magma then Heldon. There is also Universe Zero, but they are Belgian. All I can say is that the front figure is Magma and it is well deserved (on the duration). They have a particular aura. They made a success by imposing a style.

P.B: what is the legacy of Heldon on the young generation?

R.P: I claim absolutely nothing but when I see people of Wolf Eyes or Merzbow, etc. tell that they listened to my music it is an honour, I am rather surprised...then after we become friends, it is maybe for it that we also made things together. On the next album there will be also some materials from Wolf Eyes and Merzbow.

P.B: For you what was the role of the postmodern minimalists and the researchers in electroacoustic in the musical avant-garde? Did they influence you in your works?

R.P: if you speak about Philip Glass and about Steve Reich, it is certain that they are notorious figures musically. I had discovered Philip Glass at the very beginning of the 1970s. Before that I had listened to a bit of Stokhausen. We also have to remind that the first of «Einsten one the beach» was made in Paris.

P.B: with repeated references to Gilles Deleuze's philosophy you looked to your music a kind of abstract but also tactile dimension (the physicality of the sounds in their rippling movement, their staticity.). From the point of view of the composition how do you proceed to translate by sounds this work of size made by Deleuze on concepts?

R.P: «plan of sound composition», «plan of composition of the desire», «plan of immanence» the fundamental concepts of difference and repetition. You have all Deleuze and all the history of the music at the same time. When he speaks about the blocks of duration it is obvious that there is a relationship with the sound blocks. And the work of the current musicians it is a work on the material, it is not any more the forms or the significant which count. What counts fundamentally it is the work on the material, the worked material, to become there. What account it is the "process". The term of "process" can apply as well in philosophy as in music. Personally I make absolutely no difference in music, a solo of very rock guitar can be also brilliant as a very finished composition. 

P.B: in the book «one thousand trays» I raised the concept «synthesizer of consciousness». About this term your name is quoted in reference in the book. Can you clarify me in some sentences the sense then the place of this expression in the «perspectivism» of Deleuze?

R.P: yes it is the «ritournelle» (territorial motives). Deleuze worked by small notes with people. He made a note on synthesizers, in the sense of «disjonctive» synthesis in philosophy, the temporal syntheses and sound syntheses. I prefer to be quoted by Deleuze than by Fillon (laughter) . It became such an infamy all of this... Deleuze marked the philosophy of the XXth century. He appears in the top 20.


Edited by philippe - October 10 2009 at 09:10
Back to Top
memowakeman View Drop Down
Special Collaborator
Special Collaborator
Avatar
Honorary Collaborator

Joined: May 19 2005
Location: Mexico City
Online Status: Offline
Posts: 12475
Direct Link To This Post Posted: October 12 2009 at 20:40
Thank you very much for the interview and the translation, it was a very nice reading!!!

Follow me on twitter @memowakeman
Back to Top
Cesar Inca View Drop Down
Special Collaborator
Special Collaborator

Honorary Collaborator

Joined: May 19 2004
Location: Peru
Online Status: Offline
Posts: 4804
Direct Link To This Post Posted: October 19 2009 at 20:44
THANK YOU FOR THE INTERVIEW AND TRANSLATION, MY FRIEND PHILIPPE!!
 
     César Inca, from Lima.
Back to Top
philippe View Drop Down
Special Collaborator
Special Collaborator
Avatar
Content Development & Krautrock Team

Joined: March 14 2004
Location: noosphere
Online Status: Offline
Posts: 3575
Direct Link To This Post Posted: October 27 2009 at 09:16
thanks for these words Cesar. I remember when I was in Peru, You've talked to me about "un rêve sans conséquence spéciale"
Back to Top
saivenkat View Drop Down
Forum Newbie (< 5 posts)
Forum Newbie (< 5 posts)


Joined: October 27 2009
Online Status: Offline
Posts: 3
Direct Link To This Post Posted: November 03 2009 at 12:18
Thank you very much for the interview and the translation, it was a very nice reading!!!
DigBands

Back to Top
moshkito View Drop Down
Forum Senior Member
Forum Senior Member
Avatar

Joined: January 04 2007
Online Status: Offline
Posts: 5555
Direct Link To This Post Posted: February 08 2010 at 17:30
... R.P: if you speak about Philip Glass and about Steve Reich, it is certain that they are notorious figures musically. I had discovered Philip Glass at the very beginning of the 1970s. Before that I had listened to a bit of Stokhausen. We also have to remind that the first of «Einsten one the beach» was made in Paris.

P.B: with repeated references to Gilles Deleuze's philosophy you looked to your music a kind of abstract but also tactile dimension (the physicality of the sounds in their rippling movement, their staticity.). From the point of view of the composition how do you proceed to translate by sounds this work of size made by Deleuze on concepts?

R.P: «plan of sound composition», «plan of composition of the desire», «plan of immanence» the fundamental concepts of difference and repetition. You have all Deleuze and all the history of the music at the same time. When he speaks about the blocks of duration it is obvious that there is a relationship with the sound blocks. And the work of the current musicians it is a work on the material, it is not any more the forms or the significant which count. What counts fundamentally it is the work on the material, the worked material, to become there. What account it is the "process". The term of "process" can apply as well in philosophy as in music. Personally I make absolutely no difference in music, a solo of very rock guitar can be also brilliant as a very finished composition. ...

I like this ... it's to define music for what it is at the time that it came to be, and it could have been "rock guitar" as easily as a "synthesizer" ... and not the mention of Stockhausen, Glass, Riley ... and these, generally were never heard or checked out by the rock/prog community ... in order to see the correlation between the musics ... it didn't matter if it had a rock guitar or synthesizer ... what mattered was the music and the concept that defined it ... and I think that Richard made that clear.
 
Funny ... Robert Fripp also does this on a couple of videos ... when discussing some ideas/concepts for desiging music.
 
It is a very European thing to do ... when one has gone to school and read a little literature and studied a little philosophy here and there ... and read a bit of literature here and there ... and not something that is readily accepted, or understood in America ... where the arts here means Avatar and TV stars ... not any of the arts or its history ... so it's easier for Americans to get influenced by Chuck Berry and Eric Clapton or Jimi ... than have any idea or concept what Burroughs (and he's American!!!!!!!!!!) and Stockhausen ... were trying to do ... which so few people bother to check and learn from.
 
It's not meant as a judgemental comment ... it's meant as a literary/critical essay comment --- which sometimes I feel is not appreciated in this board enough ... to help raise the consciousness and awareness of the music's value ... you're not going to get the educated audience to enjoy Chuck Berry ... unless they are really drunk! --- hehe!
 
It also shows yo something that is not always ... discussed. Originally, synthesizers were not thought about as "musical instruments" ... and by the time that Paul Beaver, Walter/Wendy Carlos, Moog and others made it here ... all of a sudden, you have something different of an instrument .,.. that lost its identity in the next 10 to 15 years ... to copy everything else ... but itself! At first the sound was the thing ... because it was so different  --- and it was easily associated with "spacey", "otherwordly" ... and by the time some of these sounds made it to pop music and rock music ... as in ELP (for example) ... it was no longer an instrument on its own ... it was an instrument emulating others and what someone could do with it ... it lost it's own "personna" over night ... because of pop music ... and what eventually became known as "progressive" as well, as it was no longer about the "experiment" ... but some "form" ... that is now "defined".
 
Time ... makes a difference ... how music is seen/heard and used ... is another ball game ... and folks like Pinhas are very important as they were at the forefront of a lot of those experiments ...  however, many of these, today, are simply not appreciated enough or can be openly discussed ...
 
This is a fabulous interview ... and exciting ... it's not always that you can actually "discuss" these things, and even people like Schulze, Froese, Oldfield, Vangelis, Sakamoto ... have a hard time discussing these things ... but then I'm not sure that they are being interviewed by someone that is as aware of the arts, music, film and other things that those folks "see" in their heads ... and this interview is top notch in this area ... not totally satisfying since it can only relate to a handful of things that have nothing to do with the arts itself ... but it was better than most.
 
I'm not sure that a lot of their work can get better, or more appreicated, until we open that area for them ... and not ask about "prog" ... we need to ask about "life" ... and give them the room to say it ... yes, it is different ... and that was -- and IS -- the point!


Edited by moshkito - February 08 2010 at 17:48
... none of the hits, none of the time ... you might actually find your own art, or self, and forego lousy heroes or Guru's!

www.pedrosena.com
Back to Top
Tsevir Leirbag View Drop Down
Forum Senior Member
Forum Senior Member
Avatar

Joined: May 03 2009
Location: Montréal
Online Status: Offline
Posts: 8321
Direct Link To This Post Posted: February 08 2010 at 18:36

Excellente entrevue, Philippe. Questions très pertinentes et réponses très intéressantes de la part de Pinhas. Ça devait être pas mal génial de l'interviewer Clap

Les mains, les pieds balancés
Sur tant de mers, tant de planchers,
Un marin mort,
Il dormira

- Paul Éluard
Back to Top
basudec1509 View Drop Down
Forum Newbie
Forum Newbie


Joined: February 10 2010
Online Status: Offline
Posts: 5
Direct Link To This Post Posted: February 10 2010 at 14:26

hello guys ...


its really nice and informative post....


i just liked it....


thanks for your information guys ...........

Back to Top
 Post Reply Post Reply

Forum Jump Forum Permissions View Drop Down

Bulletin Board Software by Web Wiz Forums® version 9.69
Copyright ©2001-2010 Web Wiz

This page was generated in 0.156 seconds.