I like to work with people that have their own kind of perspective and their own things
that they do and we kind of work together to arrange them.
So I worked with Christopher Votek on cello and Corey Fogle on drums and we kind of all
together came up with arrangements and I kind of like to work with not just people because
they play those instruments but because they have their particular ways that they can interpret
the songs.
So yeah and I'd love to add other people to the band.
I have a lot of ideas so it has to do both with the instrument and with the musician.
This is interesting because basically you've been mainly playing Stas' life and at least
for us public it has been rather minimalist, stripped down approach.
Have you ever considered bringing the whole piece of tragedy into a live show or maybe
even you know playing was a concept of the way the Greek tragedies were represented?
Actually no, not the latter.
I mean I never thought about it being a full on Greek tragedy performance in the style
of ancient Greece.
I did think about when the album came out about having, I'd like wanted to create a
whole performance around tragedy but I didn't have the means to do it.
I didn't have anyone really there offering or anything.
I mean that was always, it's sort of like someone has to offer something like that.
So I mean I could have put up something on with friends but it's kind of hard to do that
on your own.
You have to have someone be like oh let me help you put together that show because it's
a lot to do.
I mean tragedy, the thing is it's so vast, it's so, it needs a lot of, I would need
a lot of something to make that happen and I, it wouldn't be exactly like the record
either.
I mean it would, I don't think I'll ever be able to be the kind of performer that makes
things exactly like the record because it just would feel weird to me.
It would be as much like the record as it needed to be but it would basically be, I think
of the songs themselves, the compositions as, you know, I play in the same room live
with these guys but it's also on a record.
It's the same composition, just a different performance or a different recording so it's
just a very different thing.
So if I, I would love someday to do the tragedy in the performance.
Would you mind telling us about your experience in human air music because we saw quite a
few artists.
How was it, you know, being turned in for them but also do you feel any particular connection
to all the artists from the label?
I kind of like, I mean Jason basically runs human air still in Berlin and he and I worked
together for a while on, I was doing like mail outs a lot and just, I mean I was really
helping him run it.
We were working together on it for a while.
It's kind of like one of those projects that like morphs a lot but has always centered
around Jason.
So for a while it was like, it existed before I was around and then I kind of answered this
internship on Myspace where I just said, oh, I'm interested in interning for you.
It was kind of like half joke though, I mean it wasn't like, I mean it wasn't, it was
just real but I mean basically I was like drawing, I was like helping make some handmade
CDs or something and, you know, I just kind of fell into a group of people that were all
really creative people doing their own, recording their own songs in their rooms and like I've
stayed in touch with Jason and Ramona the most, Ramona from Night Jewel but I'm, you
know, like everyone from like Geneva Jacuzzi, Oriole Pink, all the people that kind of were
around when it started are still active in their music careers and are still living around
LA and still kind of like running into each other here and now and just, it's a good,
I mean there's a lot of people who are, you know, now it's morphed into, I mean Lucrecia
who lives in Barcelona is not going to be on the human ear release and Jason has a release
on it and also Michael Pizarro who is a good friend of mine and professor at Cal Arts.
So he's kind of, Jason's kind of taken it to all these different places, whoever he's
kind of working with at the time, it becomes a label for that moment.
So you've rather mentioned that it's, sometimes it's even a secret process, you just go to
random places, record that you were able, then you're able to frame this recording.
Do you think it, someday it might be actually the other way around, it's actually looking
for a specific sound and go out there and, well it's not the way it works for you?
Right, that's a really good question because sometimes, yeah, I think I do have things
in mind a lot of times.
I think I do, I mean it's that I hear something, a quality of the sound outside a lot of times
is what happens.
I hear, I mean it's true, I don't know exactly what's going to happen, but I hear a quality
of the sound that I like a lot in the environment, in some of the situations I hear, a lot of
times what I like is like the sounds in the distance, or like a lot of times I party in
the distance or something, like humans doing something really loud but in the distance,
and then maybe something very different happening in the current environment, so say like birds
chirping but then in the distance like loud like booming like like bass or something,
and then, so I just like the kind of like situations that you, like the way the environment
is, you can tell that over a distance across the distance there are these different things
happening, it's like a stage, like different stages.
and then there are these different things happening, but I hear a quality of
the sound that I like a lot in the environment, in some of the situations I hear, a quality
of the sound that I like a lot in the environment, in some of the situations I hear, a quality
of the sound that I like a lot in the environment, in some of the situations I hear, a quality
of the sound that I like a lot in the environment.
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