David Dies of online magazine, I Care If You Listen, has a fantastic new interview with Tracy Silverman talking about his new Delos release, Between the Kiss and the Chaos! Check out the first question here, and read the full interview on www.icareifyoulisten.com.
“David Dies: In the notes to your CD, your discussion of Axis and Orbits is fairly technical while your discussion of between the kiss and the chaos focuses on the imagery and the relationship between the artworks and the music. I would be interested to hear some of the musical considerations you had as you were writing that one too.
Tracy Silverman: Interesting! I hadn’t noticed that. Axis and Orbits doesn’t have the same direct visual and dramatic starting point as Between the Kiss, which originated as a puppet opera about artists and therefore had some very tangible inspiration. Axis was more of a technical challenge in it’s inception—to try to create a live semi-improvised work for a single person using loop pedals which retained the type of musical interaction that we expect from ensemble playing. With that as the challenge, each of the 4 pieces ends up in a different emotional place, guided there by the different approaches to using the loop pedal which I was exploring in each movement.
In the first movement, Axis and Orbits, I loved the image of these bodies in space moving silently and consistently and without any regard at all to the random alignments in which they find themselves. I love the idea that one alignment of harmony is no better than another, and I like the nihilism of starting out all lined up and slowly but steadily dissolving into chaos. I wanted a nice contrasting feel to the first movement, so the second movement, Camshaft, has a hard funky, rocky groove. And once I got into the funk, it wanted to turn itself into a band playing a song, complete with different “instruments,” sections, breakdowns, etc. It’s very complicated to pull off live, but hopefully listening to it makes you forget that it’s all done by one person. Sacred Geometry was inspired by the polyphony of crickets, and the simple kaleidoscope of the shifting harmony within a regular rhythmic pulse, (as opposed to Axis and Orbits which has no pulse or meter,) inspired Terry Riley to give it its title. Mojo is me trying to call up the spirit of those crazed eastern european roma violinists who play with a ferocity like they have bleeding entrails still caught in their teeth.”
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