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Interview with Mise_En_Scene

img  Tobias Fischer

One of the most interesting aspects about your recent collaboration with Shinkei is that it is not just about similarities, but also about the various ways in which you complement each other. What made it so interesting to work with David?
I relate to David's work and the way he puts things together. The way I see it, we have a common approach to sound composition. Therefore, it made it easier to take decisions and arrive at satisfying results.


Was there some kind of agreement or masterplan before you began recording and collecting material?
The only plan we had was to switch materials and start composing within them. Other then that, we didn’t plan a single thing. Since I know David's work well, it was clear what the character of the work was going to be from the outset.


Next to some drones and microsounds, there also seem to be a lot of field recordings in various recording qualities. Where do these come from?

The field recordings from my side were taken from a video work shot in the Negev desert in the South of Israel. The video is a work of Tami Wiesel – my girlfriend.


What, to you, are important points of your sound-aesthetic?

When I collect sounds, I'm looking for basic and small sounds (microsounds). Also, I am looking for decomposed forms of sound. I usually create my own materials by using analog gear.


The recording sounds incredibly focused, so I can imagine that it took a while until you were both satisfied with the result ...

First, we generated sounds and sent them to each other. Then we started to work on the other person's material. We switched again and continued this process until we got to a point which we were absolutely content with the results. It took about three swaps to get to there.


Two tracks are called „Remodeled“ - does your process of making music very much feel like your moulding and shaping your sounds?
Definitely, for me the process is a kind of sculpting in sound. I add and subtract from the material. It's like I am making an object out of sound


How important is the aspect of „storytelling“ for the album?
Actually, we didn’t plan a storyline for the album and we worked intuitively. I think that each track has its own story to tell.


What was the idea behind including the remixes?
It was Yukitomo's idea and It turned out to be a very successful one. I don’t know what his exact motives were, though. To me, they're definitely an extension of my work and offering one additional point of view to the sounds we created.


To Yukitomo Hamasaki of Matter, it is essential to create inseparable units of sound and design. Do you feel the final product was successful in this respect?

I think the design complements the sound and gives it a visual translation, in a way. I am very happy with it.


What were criteria for cutting out particular passages versus letting them in? In which way do these leftovers now relate to scytale?
Using parts we removed from SCYTALE, we arrived at a new composition called "LEFTOVER_1". I would basically call it an interpretation of a series of interpretations. We are going to to continue dealing with those sections in the future.

By Tobias Fischer

"scytale" is still available from mAtter.

Mise_En-Scene Discography:
The Tandem Series 4 (Boltfish Recordings) 2006
Four EP (Cold Room Netlabel) 2007
Neo~ylo (Boltfish Recordings) 2007
The Far Reaches (Boltfish Recordings) 2007
Front.Back & Form (Leerraum [ ]) 2008
Shelfs (Leerraum [ ]) 2008
L.W.H. / External Objects/ w. Heribert Friedl (WHITE_LINE EDITIONS) 2009
Scytale/ w. Shinkei (mAtter) 2009
shail | patterns (smallfish) 2oo9
Intermittent (Stasisfield) 2oo9
audio architecture (m.m label) 2oo9
ineandereweltstrasse / w. Simon Wetham (Install) 2o1o
Leftover_1/ w. Shinkei (Dragon's Eye) 2010

Homepage:
Mise_en_Scene

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