Interview: Warpaint little late now, even here the interview I roteraupe.de beginning of the month for
Emily Kokal from Warpaint
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Have you learned a classical instrument? No, not at all. I know the basics, that's it. Everyone in my family sang, I come from a very musical family. As it happened, I've started to make music? I was in the cinema, we saw a movie - "Emperor of the Sun, I was about five - and when I got home, I sat at the piano and re-enacted the title song Thereupon, I had piano lessons, I just two. months have held out ... I would much rather have my own songs taught and later started to think up their own stuff I was in choir and musical theater have played -. somehow was music for me is always important, the -. and dance - were to me as a child .
two most important things I have just read a text, "How Women Become Musicians by Mavis Bayton - she writes, that many women who play in bands, learned piano as a first instrument, you think that's true? Is often discussed in interviews that it had all been female? Not as much as I expected. Look what she writes, because there really are very few women who do (rock) music. Yes, we all somehow started with piano - probably because that's the easiest instrument to just to play around. Taking a guitar in hand as requiring a bit more - consciousness. I started because my mother's friend who played guitar - he showed me the basics. I sat down and tried - to play the songs from the hearing - that was an approach that for I made sense, perhaps more than to play by notes.
So the sound was most important to understand the songs or the music? I think you can just pop understood: the social aspect of pop has to do in my opinion much with the sound. In your album I always had the feeling that the songs rather than the lyrics or the music is coming to itself - and more on the sound. Talk about sounding like you want? We just play together - and then comes the one to the other. We have never had a conversation about our sound. We do not intend to sound like anything ... but ourselves we try to influence us not be easy out of the moment to make music. Our songs are a mix of very many components - the text, the individual instruments. I like our approach, because you never run out of ideas when you begin with nothing and have no specific target. You just start to play - a million ways! The fear is not having a plan and are doing things I do not understand. Just play! And even if it does not sound good at the beginning - you do something original.
When you equip it the moment you've described precisely "capture" - the songs are different every time, if you play it? If we have "found" the song that we work because of the shape, the sound. We are looking for the moment we have all felt that it was "right" sound - probably the most complicated part. No one is really satisfied with the song until it's not all. So internal review: the song is "completely" when we are all satisfied. We have no control as far as the songwriting. But we have certain rules regarding our style, what fits what perhaps is not. I think we play very democratic. Everything should have its proper place.
you think is the collective intuition? Or you talk a lot about your songs? Probably both. A call can the whole thing even more in the way: as soon as we start to play, the problem solves by itself. The confidence that this "might not find everything that sounds right, but if it is exactly what we seek, we will notice that all of them."
How long have you been working on the songs that you recorded for your EP and the album? Some of the songs are pretty old: Murmus Lissie's Heart - The Last song on the album - was one of the first songs we ever wrote. Some of the songs have been modified or even re-written until we have finally received. aufnimmst Until you, everything is very open, but then ... well, then we nevertheless continue to change everything! Take "Burgundy" and "Krimson" - The same song in two different versions! We have discarded songs and re-interpreted - some of the songs have a long time, a few have been written rather quickly. play
Live is essential for you as if your songs are in constant change? Yeah, it's like how we get our YaYa's out, you know? (Laughs) Live play is the ability to play "tight" to make - only after we recorded the EP and the album, we played the first time live! On stage every time we come closer to it, our songs should sound like - they are constantly changing. This is perfectly OK if it sounds different - If it just feels so much better. There are no rules, so long as it sounds good.
interesting when you look at how music is now heard and seen - the process of making music is increasingly important because the appearance is more important than the recorded song ... You mean rules can occur outside and back to the idea of the song?
Yes, do so. And also to the practice of making music .
The spontaneity.
Exactly. you reinvent the songs every time when you risk something and you move away from the standard. All the elements that may be made on the first play, do not mind have found it together. The songs to be revised again and again and complement - the age they can not. All - we and the audience - can get something off this whole process: the common experience of something new.
Photos: Tim Wulff
