Uwe Schmidt sun ra content

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1 post / 0 new
#1 Wed, 2002-07-17 10:32
Damian R Bondi
Offline
Last seen: 13 years 3 months ago
Joined: 2010-12-22 23:45

Uwe Schmidt sun ra content

Hello, The following is an interview conducted in London shortly after one of the Senor Coconut shows there a few weeks ago. It was done by Magz Hall and Jim Backhouse for their radio show called You Are Hear which airs Mondays from 5 - 6:45pm on Resonance 104.4 FM. Check it out the following links for more information: http://www.youarehear.co.uk http://www.resonancefm.com/

Apologies for any errors/typos that may have occurred.  Notes in
[brackets] are mine, and i've delete most of the um's, uh's and
sort of's for reading ease. :-)

Enjoy,
    n/p
np- Burnt Friedman & Jaki Liebezeit "Secret Rhythms"
 .         .      .    .   .  . ..... .  .   .    .      .         .
Official Tetsu Inoue Homepage, HeadTheater archive, and
Tradelists @: http://ww1.math.luc.edu/~njurcin

I- Magz hall A- Atom

I- I'm very lucky today to be sitting right next to Senor Coconut, who's really not called Senor at all. Um, your real name in fact is, can you say it for use please...

A- My real name, the passport name? Uwe Schmidt.

I- It must be really strange for you to come to England and find that people are so into Kraftwerk and Latin music at the same time.

A- That's true, I knew about the status Kraftwerk has in the UK, I mean, they entered the charts and stuff, which is quite weird because it's not happening in Germany with them. So I knew they had a certain status here and I was in fact surprise that the [Senor Coconut] album which was release originally 2 years ago never found any feedback here so I was sort of surprised.. like it was originally released in Germany and there was a huge response in Germany and in Spain and nothing happened here in the UK. And I thought well, okay, if things are like that you know... And then 2 years later it got picked up by a label here and got promoted properly and so I was not so surprised by that, yeah...

I- So for those people who may not be familiar with your work, you've made an album onto the name of Senor Coconut and you're covering Kraftwerk songs.. and you live in Chile don't you?

A- Yes, yes...

I- Do you think that influenced the sort of music that you've been making, because you have a long history of making electronic music? I know you've done a lot of work under the name Atom Heart and you also worked under various other pseudonyms. Has living in Chile made you go into the sorta south direction, has that influenced you making Senor Coconut?

A- No, in fact not. The Senor Coconut idea was born way before in fact. And if you look at my release list sort of, the Latin thing started in 92-93 after I came back from Costa Rica. I stayed there for half a year. From there on I always tried out where Latin could fit and in 96 I had that idea for Senor Coconut and started working on that album in 96, and then moved to Chile for a completely different reason and completed that album there. And then started 2 years later on the second one, on the Kraftwerk covers. And living in Chile doesn't have anything to do with what people think.. the Latin stereotype is Chile is very untypical. I mean the typical idea about Latin America should be like palm trees and people dancing samba, salsa, whatever and Chile is not like that at all. But I think [it] has changed me more in terms of life in different places changing a person, more like that. But like the Latin language itself doesn't have anything to do with being in Chile, I wouldn't say that.

I- Well, not many people have visited Chile but I myself have so I realize it's very European, isn't it in Chile? What kind of music are people into? You know, whereabouts, you're living in Santiago, what kind of music are people listening to over there.

A- Uh, there's a lot of Latin rock, Latin pop, um a little bit of folk um, not too much, and never... [it's] a really really unknown type of folk type there... it's called cuica ["kway-ka"] It's not very popular outside of Chile I think... the very south, South American folk. And they listen to what else... that's basically it, rock and pop. Also the typical worldwide world stars which are also promoted there from record companies.. whatever.. You know Britney Spears and stuff like that, I mean it's also happening there. So in the end it doesn't really have much to do with what people think. Latin America is you know, much more.. really surprising in fact.

I- Do you find it at all oppressive living in Chile?

A- Oppressive how?

I- In the atmosphere and because it's not actually very in your face, the side of Chile that I saw was very reserved. Do you find that in every day life in Chile there's a reservedness to the way people are, are there curfews at night still?

A- Coming from Germany I find Chile a relatively loose culture. But having been in Brazil for example, I find them very stiff and cold, introverted and I think they are, compared to Argentinians for example, they are very calm and inside people. And the whole history, the history itself through the last 100 years, 200 years, and the reason the history as well as all the conflict with the natives there and the mixture of Spanish people and the natives has created a very grounded, down-to-earth culture, it's not hyperactive in your face as you say, it's much more.. I mean, compared to Germany or you know, it is, but uh if you see it in a wider context it isn't.

I- So when you went home in Chile which is also your home in Santiago, do you play live at all in Santiago?

A- Rarely, rarely. I used to play the first year when I got there I played a couple of shows but um, I mean Santiago itself is a big city but then there's not much going on really in terms of a scene. And I was never really interested in the scene there, I didn't go there because of musicians or of an obvious connection to the scene there or to anything like that so that's one point about being there I'm really glad about being... at having the temptation to play a lot there. I mean there are like two or three interesting clubs and once you have played them there's not much you can do except for repeating yourself and saturating your image there. And um, I'm really low profile in Chile not a lot of people know me or know my stuff, and that's really good like that.

I- So what's the reason that you actually live there then?

A- That's the reason, yeah, that's one of the reasons yeah. One of the reasons was to disconnect from an obvious context I was perceived in while living in Germany, especially in Frankfurt. People like to classify whatever, the Berlin sound, the Frankfurt sound, the Cologne sound and whatever you know the London sound. And I've never been a part of a scene really, I've worked in the very early years with a couple of people which later on became sort of known DJs from Frankfurt etc etc. But then I always moved on and did something else.. At least I wanted to.

I- ... you've defeated that because this has become so popular.

A- No, I'm not against labels in general but I would like to select the label, and what I usually do is confronting or merging labels. I mean Latin and Kraftwerk, or whatever Geeez'n'Gosh has like a colliding context which is not obviously linked or connected even on the different opposite poles. And um, being labeled as Senor Coconut has something to do with that project being the most successful of all. In the past it's obvious that you get labeled and I knew that. But I'm still in parallel doing a lot of other things and I've never been.. I mean, the mainstream audience maybe is labeling me, but the people who know what I'm doing know that it's just one thing amongst.. I don't know 20-25 other things.

I- 25 other things?? I'm most familiar with Flanger and Atom Heart, and also recently you did sort of a jazz remix, I forget the name though. It's an album which involved cutting up Sun Ra and different jazz musicians and...

A- Roger Tubesound... the Roger Tubesound Ensemble.

I- Yeah, can you tell me a bit about the album, why you made it.

A- There was a Roger Tubesound I did about 4 years ago on Rather Interesting, and that was sort of my.. the project under which I was playing, fooling around with jazz.. an open concept just like jazz is like the main parent. And I did like that album about 4 years ago and I didn't have anything to say about jazz besides Flanger which is another approach. And then I got very inspired by a lot of things I discovered about the past the 30's and 20's and Django Reinhardt and early Duke Ellington and stuff like that. And suddenly it was like there was a new source you know, a new jazz source I thought would be interesting to work on.

I- And that album includes insane amounts of sampling and you've written down, you've mentioned each particular sample that you've used. You know, on the latest album I think you used over say, 100 samples? And put each de-, you're very detailed in what you've used. Is that because you're a bit of a trainspotter when it comes to music?

A- No, not at all. Well that's just, if you work with software and computers and stuff they uh, which is you know very different from past times where you had to write down the samples you know, on your own piece of paper basically. And right now the software is giving you a list, you say a print list of the samples. So I just made that element a part of the design. I'm not trainspotting but I thought that maybe other people are so, that was like a little joke, a little side note.

I- That's interesting to know because obviously people are, and it did seem like you had gone through the trouble of putting every sample down even though it was for say one second long and I was quite impressed though now I know it was a bit of software. [laughs]

A- It's like um, if you look at the old um, at certain jazz albums especially like Miles Davis who started to work with tape editing in the 50's, and then there are certain reissues of Miles Davis classics and they put like this huge booklet and explain a lot of stuff about how they did it, and that's really trainspotting. And especially jazz has that thing more than other musical styles where suddenly there's one Miles Davis thing where a lot of editing was used and they put after four seconds this and after.. in the book you have like the editing list. But compared to what's possible today it's really absurd. I mean you know, in the past they did like I don't know 20-25 edits and they were really proud of having done that, and nowadays everybodys made millions of cuts and the software you have available, it's giving you endless opportunities in rearranging and editing. And so I thought it would be sort of like an absurd joke to put the editing list of an album in the booklet, and even the booklet is too small for the editing list because you have insane amounts of sample and edits. And also it's a bit of a joke about these jazz collectors who are really into these details of which I think they are not that interesting at all... I mean not that detailed at least.

I- [So that's] a few illusions there... so thinking about.. going back to Chile again, have you ever worked with any of the musicians in Chile or was it just you know, because today I know you had session musicians that came along to play when you were playing at the south bank. Did you actually work with the musicians from Chile before or was it something that you'd like to do, or was this not really an issue?

A- When I went there I wasn't interested in meeting people there. But then since the Santiago scene the art scene the music scene is very very small, I was immediately like in the center of everything... all my friends are like, sort of known people there like actors, artists, musicians... so all of the sudden I was again in like a surrounding, artistic surrounding let's say. And um, a lot of my friends are musicians in fact, and I work with them but in a very casual way I would say... like I need a guitar and the guy is coming over to play the guitar or something, it's not more than that.

I- Does it feel strange when you actually hear the songs being played by actual musicians after programming them in and you know making the album electronically with the computer? Does it feel kind of unreal in a way when you realized the album you've got musicians to play in perfect time?

A- No, not really because when I programmed the album, I had that sounding what you just heard live sort of, and I had to recreate it from sample editing basically, sample cut and paste, and collage work. So it was no big surprise. I think if you have some sort of imagination, musical imagination it's not really a big deal.

I- And did you, because obviously while the band were playing your role seemed less important then the actual band onstage. Did you feel slightly disconcerted by that or is it, you know do you feel like the conductor?

A- Yeah, exactly, that's the role: conductor. In fact, controlling a big percentage of the structure of these songs, they have like certain sections that are open or expandable or less space for improvisation and it's very important that I'm controlling certain levels of instruments so certain people are not getting lost and it's like conducting, I always have to look at the musician and see how they are doing you know. If they are still connected if they know what's going on, if they're getting lost or stuff like that. So yeah, I'm conducting it and sometimes when people are getting lost I have to count them in or something, give them a sign, what's going on, stuff like that.

I- Have you had any feedback from Kraftwerk themselves about the album, Senor Coconut?

A- I got feedback from Florian yes. He got hold of the album through a mysterious I don't know who.. He got a pre-pre-pre version with 4 songs off the album more than a year before it was released in fact, and I sent only 4 copies to 4 record companies and somehow he got a copy, which was quite frightening in fact. Fortunately he didn't know it was me or who it was at all, it was like a blank CD.. just said 'Kraftwerk Latino' or something like that. So he just heard the music and he liked it, and he didn't know who it was or if it was programmed or if it was played, if it was from Latin America or from Germany or from somewhere else. And perhaps because of that reason he didn't have any context to put it in. It's different then if you know that it's a German guy making covers of your music.. it's a guy from your country and so on. It could have been a bit more touchy, a bit tricky. But they didn't know where it came from so they liked it and it was like a chain reaction of very strange contacts. And suddenly he found me and knew it was me and he knew other stuff of mine, and he liked it and so everything went smoothly. And he convinced Ralf, I think, to not make any troubles with it.

I- Have you got plans to do another album in this vein, or would you like to do something completely different, maybe put together two completely different kinds, juxtapose again, different types of music? Do you have anything up your sleeve that you'd like tell us?

A- I have something up my sleeve, but I won't tell you. (Laughs)

I- That's not fair, you're gonna have to give us at least a hint of the types of music that you're influenced by at the moment.

A- The thing is I'm sort of like throwing the puzzle together right now, so there are a lot of elements and things I would like to do, and I am a bit superstitious so I think in the moment you speak it out and sort of like, define it, and it's like there in the world. You can like um, sort of block the possibility that it's happening. You define it in a way, and I want to keep it open until things are falling into place I think.

I- You think it might jinx it if you tell me. Oh, that's just too much... [laughs] Well, so what kind of stuff is influencing you at the moment then, musically. What do you feel inspired by?

A- Umm, anything really. I'm listening to all kinds of music all the time. Not having.. and very very few new things. I'm very much interested in history in general, history and music history and so I'm very much into just covering things from the past, and not necessarily known things. Like an ancient underground or something like that, like things which have been existing parallel to famous, known things. And I'm very much into that so I'm always trying to discover.. And it's a big big big market and a big history of music in South America that's just completely unknown outside of South America. And you can just cover the most incredible things when you travel to Brazil or Argentina and listen to some stuff there, and usually I'm a very bad name-dropper. So I'm listening to something and I sort of absorb the essence of that, it's like listening.. if you're listening to two or three Prince songs you sort of have understood what it's all about and then you don't have to listen to the rest to get the idea, and you can sort of emulate a Prince song from your memory having defined the parameters of a Prince song, or something like that. So I'm constantly doing that, listening to all kinds of things, and I believe very much that listening to music.. that music which is a part, an external element of a person who created that something, you internalize it and it becomes a part of you and depends on how intense you listen to it, or how much you like or dislike it, it becomes a part of you. Before I am doing a cha-cha-cha track, for example, I'm listening a lot to cha-cha-cha just days and days of cha-cha-cha classics and after a while it's like your memory is a sampler and you can regenerate a cha-cha-cha just from your memory, just by feeling it and it's just there. And I'm doing that with a lot of things, not only with music but also with design and all kinds of things which I find interesting. Words, poetry, whatever...

I- So you write poems yourself then? You're a bit of a poet, secret poet?

A- No, no, no. I'm not writing poems, but in poetry or in essays or whatever, history books you'll find very weird things sometimes, you know, phrases or conclusions or things which have been forgotten by society, by culture. And um, I like a lot of history of language for example, like where words come from, what they meant in the past, what they mean now, stuff like that. All the sudden you read a sentence somewhere, like maybe here on the metro or something, and it connects with something you have heard before and it makes, sort of, sense and I just have to write it down and wait until it's falling into place with something else, with a title or with a sample or whatever.

I- Most of the music I've heard that you've made, you're using other people's lyrics more than your own or your taking electronic instrumental music so, do you have a field of work where you've become a songwriter yourself or is that obvious because you've told me you've done over 200 projects? [laughs]

A- Yeah I think songwriting to me is like, I have a great respect for a good songwriter and um, the projects of the last five years I think is a bit of absorbing songwriting, and by absorbing and absorbing songwriting you become able to be a songwriter. It's something I'm really doing, a plan I have.

I- So thinking about your music and where you're going with it, do you feel that, do you play instruments yourself as well as programming? Do you actually play any instruments yourself?

A- I used to play drums in the past, but I'm not doing that for a long time, but my whole musical approach is percussive I would say. And I've.. I don't know how to play any instrument really, knowing in terms of.. I never went to music school or something, and I really don't care about it too much. And I feel like the moment you know things you close off doors. So I'm, I like to play keyboard for example, or piano, without having a clue about, I don't know, classic chord progressions stuff like that. It may be interesting, but all the people I know who know about that, they're not able to do anything else but that, and they're like stuck in the knowledge, and so yeah, I'm trying to avoid that. Becoming trained or something...

I- Have you thought about improvising more because of the way that you do it, it sounds like you're a bit of control freak in a way, because you're very good at programming and at the same time you know you said you conduct what's going on. Do you allow yourself to just completely break down structures and be very experimental in some of your work?

A- Um, it depends really. There are a lot of projects of mine where um, how can I say, when coming up with a project or with an idea for a project, you're always confronted with the same amount of musical parameters existing. It's always the same set of parameters, the pure musical parameters or whatever, the pitch, velocity, etc etc. If you are conceiving the artwork etc, and the character behind the artwork, you have to think about humor, if it's improvised, if it's controlled, and the degree of improvisation, etc etc. So all these parameters are sort of there, and for each project you have to see, to decide whatever, will this be a funny project? Does the guy who is doing that music, have some sort of humor or not? What kind of humor does it have? Is it arrogant humor, or etc etc, so just forget about controlling, and I do that very often, I improvise and you can define to which degree do you want to have it improvised. For example you can improvise a lot and then control it again, and cut it down and edit it. Or you can really just improve and leave it like that, which is quite difficult.. I can't really, that's the only thing I can't.. I don't want to do too much. But improvisation is always an element, and for a project like Senor Coconut for example, which is a totally controlled thing because you have to cover a version of a pre-existing structure in your head, and you are just looking for samples to fit in with your idea. So there's not much improvisation going on because otherwise you would get lost in combining useless samples, you know, and create something else which maybe is good but not what you want to do. But then you have to allow yourself to let certain moments happen, you know, there's always improvisation there's always like a moment where it's very difficult to describe, you're loading a sample looking for a trumpet and suddenly there's a sample and you hit the note and it's something completely different but it makes sense. And then you have to decide, okay that's an improvisation a very very reduced one, but can I place that improvisation somewhere in the idea I had? And it's sort of like interacting with the idea I had, and if you're a total control freak you just kick it out, and if you think it could make sense you just leave it in. But improvisation is always existing and it's very important.

I- This is interesting to hear because I myself have made music, well I have been fighting with the machine, which isn't working, but it's making some brilliant sounds, so I started using them. So it's interesting to hear that you do that yourself because I had the feeling that you were someone who was a perfectionist and would go for a particular.. you knew in your head exactly what you wanted and you would find that sound...

A- In fact I know exactly what I want, the thing is it happens for example, I'm working on a project and I am having sort of idea of what I want to complete an album for example, there's one track missing for an album, and I want a certain track there which makes sense in the envelop of the flow of the album, and the machine wouldn't work or something really strange is coming out which I don't have use for I would just delete at the end of the day, I wouldn't use it. And I would re-try to until I really reach or manage to make that track I had in mind. But on another project I said if there's no guideline whatsoever, it's just about throwing things together and see what's going on then that's perfectly fine, it's just about how you define the set of parameters beforehand. And that's very important to me to be efficient, that's efficiency I think, to have a clear concept of what you want or what you don't want. And if you want chaos that's fine, and if you don't want chaos you have to know that, you have to not get.. a lot of people just are getting lost in these kind of things, trying to.. just making things and making and never really analyzing what they are doing and why it's not working for example, or why something else is happening they didn't plan. So I'm very much interested in defining musical parameters and working methods and techniques, composing techniques and things like that, and I think by knowing that you can allow yourself being chaotic or control freak or whatever you want.

I- As you were saying, you're quite into humor and the characters behind the music, so if you could define Senor Coconut, what type of person is he? Would you say he's a bit of a racial stereotype?

A- Senor Coconut is somebody, in fact a Latin person, with a traditional Latin background, who does have a connection to European electronic music, which is in fact a combination I'm very much sure you won't find in Latin America. Like people with a traditional Latin background, they just don't know about Kraftwerk. So like the Coconut character is a bit like, obviously a Latin person with a certain amount of Latin stereotypes, and sort of like being an uplifting, humorous person but then he has all that European history, musical background. So he's able in fact to make that fusion which a pure Latin wouldn't do because he doesn't have, he's at one end of the spectrum. So that's the basic definition of Senor Coconut.

I- Okay, what about Atom Heart? What kind of person is he?

A- Right now I don't know.

I- You made quite a few albums under the Atom Heart name haven't you?

A- A long time ago, I mean, the Atom Heart albums, they are like about 5 or 6 years old, something like that, and I just use Atom as like the producer when I do remixes and production and stuff, I use Atom which is a bit undefined right now, but I hope to define it soon again.

I- So what are your plans for the next 6 months?

A- Let me think. I have to get the next Coconut record going, so I'm thinking of recording it within the next two months or something. I just finished a Coconut single which is called 'Electro Latino' which is sort of like an electro Latino track, and which will be released in a couple of months to bridge the gap between the two albums, the last album and the new one which is maybe coming in maybe January, February, March something like that, next year. And after finishing that Coconut thing there a couple of remixes I have to do, a new Rather Interesting perhaps, we'll see if I find time, and I would like to.. with my family traveling to Europe throughout September, like all September we'll be in Italy and France, play some shows in France, one in Switzerland in September, and then I will come back I will be in Santiago for two weeks and go on a South America tour with Flanger. That's through Paraguay, Bolivia, Chile, Argentina, and Brazil, together with Burnt Friedman and Jaki Liebezeit on drums.

I- That should be quite an incredible tour then, really, because those are quite incredible places..

A- Exactly, exactly.. and well, I've never played with Jaki Liebezeit and so it will be a fun thing to do. And yeah, then the year will be over I think. After the last show in Santiago, Chile, middle of November I think I will start doing pre-production for the next Flanger with Burnt and we will use a couple of weeks to just collect ideas so we have a starting point for the next album. Flanger that's myself and Burnt Friedman from Cologne, and we're doing sort of um, I would call it improvised music in fact, like it's using traditional jazz language without having knowledge about tradition jazz language. And we experiment a lot with composing techniques, so we're like sort of trying to avoid looping for example, and have a very particular way of how to compose music together. We did 3 records together all out on Ninjatune here in London.

I- And you have your own label don't you? What's that label called?

A- Rather Interesting. I founded it in 94, and I did the first 2 years a couple of collaborations and 2 records are friends of mine. But then I stopped working as a label, I didn't very much like much being a label and being responsible to friends who all of the sudden become like artists of your label and it was getting a bit weird, I didn't like that so much. So I decided to just release my stuff since then, since 96-97. And I did 25 albums I think since 94, the first two years I release an album each month, so I did more than 25 in fact. And then I went to Chile and I slowed down a bit, like an album every 2-3 months, and now I'm like about 3 albums a year I think 3-4 a year.

I- That's quite impressive actually, I'm not usually impressed but that's quite a lot of output there. One final question I have to ask you, have you ever seen the album Electric Kokonut but with a k'?

A- No, no...

I- Alright well, it's a very cheap sort of 1970's low budget record which is electronic sort of covers that myself and Jim have copies of, it cost 87p in Woolworths, and we just wondered if you were influenced by it or had you ever seen the album Electric Kokonut with a "k".

A- No, totally unknown...

I- I think you'd really like it. Well thank you very much for talking to me and I look forward to seeing you perform in London soon, maybe within the next year that would be great.