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​Jon Abbey & Yuko Zama Interview about Erstwhile & Elsewhere on The Needle Drop

​(Interview by Austen - January 3, 2023)

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​Q&A with Germaine Sijstermans about 'Betula'
"In my compositions I often strive to provide the players with a sort of biotope for the given, (rather) abstract material to occur, develop and move in an organic way." - Germaine Sijstermans     > read more

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​Q&A with Quentin Tolimieri about 'Monochromes'
"I started thinking, if I could eliminate as many of these structures as possible, I could start hearing these sounds more clearly. Almost as if, if I could remove the language, the syntax, the grammar, etc., I could hear the actual voice (of the piano).” - Quentin Tolimieri         > read more

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​Q&A with Michael Pisaro-Liu and Barbara Dang about 'Tombstones'
“I wanted music that was close to ‘something natural’. Evolution of the melodic lines at several speeds, in other words, independence between each other, no voluntary sound event, no climax, no drama, everything could appear as accidental.” - Barbara Dang

"It feels natural, halfway to the singer just singing to themselves." - Michael Pisaro-Liu      >read more

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​Q&A with Guy Vandromme and Bruno Duplant about ‘l'infini des possibles’ (12 études pour piano)
“This co-creative process is something that many of us classically trained musicians have forgotten to develop during our scholastic education, an education that is mostly oriented on reproduction and not on creating art work.” - Guy Vandromme        > read more

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​Q&A with Jordan Dykstra and Koen Nutters about
​​‘In Better Shape Than You Found Me’ 
“I think of the harmonic content in the piece as living within a fragile, yet also curious sound world.” - Jordan Dykstra
“I, for one, like to think of harmony as color rather than function or structure.” - Koen Nutters       > read more

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​Q&A with Jürg Frey about two-piano pieces on
​'l'air, l'instant - deux pianos'
​“It is loose, airy, but at the same time, it is connected.” 
​“A vibration in the air happens when I write the note. This is the sensation of writing. And I try to avoid 
composition as long as possible.” - Jürg Frey       > read more

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​Q&A
with Shira Legmann about Scelsi’s piano works
"By using minimal thematic materials and small shifts of articulation, all in a free time-signature environment, Scelsi offers a platform for the pianist to play with the gravity points, resulting in an internal logic of syntax and meaning." - Shira Legmann     ​> read more

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​Q&A
with Anastassis Philippakopoulos about 'piano works'
"A melody is like walking, going from one place to another, without carrying a heavy bag. Just the necessary things, a few tones are enough to make the walk..." - ​Anastassis Philippakopoulos     > read more

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​Q&A
with Gil Sansón and Lance Austin Olsen about 2CD 'Works on Paper'
“Here we have two artists who are meeting each other at some common middle ground, without losing our identity one bit, but ending up with pieces that would have not being what they are if we didn't set to meet each other halfway.” -​ Gil Sansón      ​> read more

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​Q&A
with Jürg Frey about the two compositions on '120 Pieces of Sound'
"I think the question is not ‘how to get it’, but ‘how not to destroy the openness’ when we compose." - Jürg Frey     ​> read more

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​Q&A with Clara de Asís
  about 'Without'
“In order to form a whole, you have to be simultaneously with and without the rest of the elements.” -​ Clara de Asís      > read more

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​Q&A with Stefan Thut and Ryoko Akama about 'about'
"These silences are soon getting replaced by something else: by the sounds from before, by the sounds in expectation, by thoughts." - Stefan Thut     ​> read more

related interviews on other media

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​Melaine Dalibert interview
 
with David Nibloe on sylvianvista.com about his compositions and four albums on elsewhere (9/3/2021)
"I would be the first to recognise that emotion is the goal sought in art, and the works to which I return are those which provoked an emotion in me, at the first hearing. But this emotion can have very different aspects; I think that the mechanism that leads to a specific emotion is a complex phenomenon that escapes the artist’s control: it is a matter of the present moment, of cultural heritage and of the listener’s state of mind. What concerns me in the first place is to bring out the music that occupies my mind, as sincerely as possible, as directly as possible." - Melaine Dalibert        > read more

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​
​Melaine Dalibert Interview
with Roger Batty on Musique Machine
(5/28/2020)
"I would not dare to make a connection between my literary affinities and my music, but I was fascinated by romans of Proust, their extraordinary tangle of events like his style, which makes us feel singularly all the complexity of what we mean by "time". - Melaine Dalibert      ​> read more

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​Giving Shapes (Elisa Thorn/Robyn Jacob) Interview
​with Stuart Derdeyn on Vancouver Sun (3/31/2020)
"It all came together naturally, where we would get together and pore over lyrics and ideas and then go back to our home studios and put things down. Looking back at the finished songs, it’s often quite hard to know who contributed what in many cases. Which was sort of what we wanted it to be.” - Robyn Jacob      > read more

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​
​Rate Your Music's Sonemic front page interview
: Yuko Zama's 10 Favorite Releases (8/24/2019)

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​elsewhere curator/producer Yuko Zama interview with Roger Batty on Musique Machine (6/11/2019)

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​Yuko Zama Interview with Steve Smith on National Sawdust Log: On the Record (8/3/2018)



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