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15 Questions to Transitional

  Tobias

Hi! How are you? Where are you?
Great thanks. At home in the UK.


What’s on your schedule right now?
We are currently working on a EP which will be released on Capsule Records which is run by the people behind Supersonic festival. We are also working on a full length album which may see some contributions from some guest musicians. This will be released by Conspiracy Records at some point next year.  


What’s your view on the music scene at present? Is there a crisis?
I guess we don't really take too much interest in what is described as the 'music scene' as our attention tends to be focused on what ever interests us at the time as both Dave and myself listen to a wide range of music. As for a crisis? Is there? I think I would have to say that I am too far removed to have an opinion on that. 


Do you see yourself as part of a certain tradition or as part of a movement?
We don't see our selves as part of any kind of tradition or movement as we carry no attachment to our music other than take it or leave it, although I think people may find an artistic link to our previous and current works in different projects meaning Dave's work with Justin Broadrick and Kevin Martin and my own with Anthony DiFranco (Skullfower/Ramleh) as Novatron. 


What, would you say, are the factors of your creativity? What “inspires” you?
At the root of it all is escapism in-regards to creating and listening. To find as set of sounds that can completely remove you from everyday routine and process. For Transitional the deeper you achieve this then the more artistic success you have. As far as inspiration goes, I think we draw sources form many different elements that include both mental and physical experience as well as imagery, film and books. 


How would you describe your method of composing?
The methods used are both instinctive and experimental rather than working to any strict formula. We tend to take a piece of music as far as we think it should naturally go. We would not add a beat, riff or voice if we didn't think it needed it. 


How do you see the relationship between sound and composition?
I tend to think of sound in composition like colours which you slowly match and put together in both the composition and mixing stages, adding additional sound in shades and tones giving you the finished piece. 


How strictly do you separate improvising and composing?
Improvisation for the band may come at an early stage in rehearsal and end up close to the finished piece just whilst searching for ideas or even in the studio to paint over the top of an underlying structure. Again, this is more intuitive and down to instinct deciding that a more instant approach should be the finished piece rather than just deciding, yeah lets improvise man! 


What does the term „new“ mean to you in connection with music?
Absolutely nothing, as it a term I have never associated with or thought in the context of. 


Do you personally enjoy multimedia as an enrichment or do you feel that it is leading away from the essence of what you want to achieve?
I love the idea of our music allowing people to use their own imagination to enhance the experience as the human capacity for this is immense and a dream can go way beyond what anyone could re-produce through multimedia, although I am far from against the idea of multimedia. If used correctly this can really enhance a musical experience and allow it to go even further if it stimulates the listener in the right way.  


What constitutes a good live performance in your opinion? What’s your approach to performing on stage? 
I've never really been into the idea playing tracks live exactly like it is on the record and have never really got my head around people who want to see it done like that. If  I want to experience that I just turn the stereo up really loud and turn the lights off in the comfort of my own home. With Transitional our attention goes in to getting the sound across in a different way partly because of our set up but also it gives the listener something new to experience that is new but not too removed from what they already know which is more instant. Live the production of the drums are quite different from the record as we did not want it to sound like, hey we couldn't be bothered to find a drummer to play this live, so here's a backing of what sounds exactly like someone playing a kit. The production of the beats are a lot more electronic with more frequencies which increases the density and deepens the sound allowing a very heavy sonic experience with bigger dynamics. The arrangements of the tracks can some times be lengthened to allow some more improvisation and the other sounds can sometimes be removed and other sounds, voice or riffs introduced.  


Do you feel an artist has a certain duty towards anyone but himself? Or to put it differently: Should art have a political/social or any other aspect apart from a personal sensation?
I think art has a massive influence both politically and socially simply because it makes people think which inspires, although I don't think it has a duty to do this. If it is to have an impact it just will, conscious or not. 


How, would you say, could non-mainstream forms of music reach wider audiences without sacrificing their soul?
Just to keep on being what it is.


You are given the position of artistic director of a festival. What would be on your program?
Everything you would and wouldn't expect. 


Many artists dream of a “magnum opus”. Do you have a vision of what yours would sound like?
I can dream that sort of thing but to put it down when I have woken would be impossible to put into words other than it would be so alien and removed from anything that has gone before that it would be almost impossible comprehend as much as we will endeavor to achieve this.

Discography:
Nothing Real, Nothing Absent (Conspiracy) 2007

Homepage:
Transitional at MySpace