THE ESCAPE VELOCITY Magazine

THE ESCAPE VELOCITY magazine

Issue Three 1 The Escape Velocity Escape Velocity One year anniversary issue

2 The Escape Velocity So, since starting The Escape Velocity one year ago, there have been many advances : new discoveries through the conceptual works of artists, a newfound agenda designed to allow Sci Fi Techno Music the much needed dimension to explore unconditionally and without popular homogenization. So far, we’ve invited roughly 30 artists into the project, but only asked for one main requirement - which is to explore to the furthest reaches of their imagination. And the results have been more than any project man- ager could ask for. Like in the other corridors of Sci- ence Fiction, we see in Techno Music the same mechanism that produces fantastical ideas and dreams. With tangible purpose, any and everything is possible. As the concept of The Escape Velocity is to run parallel to the new discoveries of Space science, industrial and travel industries, we expect and are planning for The Escape Velocity to grow like wildfire in the next years and decades. We expect these first 30+ Artists to influence and teach others the special craft of translating dreams. To normalize abnormal thinking and the readiness to challenge the status quo whenever necessary. We hope you enjoy Issue Three of The Escape Velocity Magazine.

Jeff Mills Editor in chief

photo courtesy of NASA/Carla Cioffi 3 The Escape Velocity Contributors

Sheree Rashit: Having studied fashion and a further degree in Culture and Criticism at Central St Martins School of Art, Sher- ee Rashit’s work has encompassed journalism and styling, curation, costume for TV through to creative director of visual identity for music artists signed to independent and major labels. Sheree is founding director, alongside Steve Bicknell, of LOST, site specific music events focused on electronic music, with emphasis on the experience. Sister company to LOST, Cosmic Records was formed as a platform for releasing af- filiated music. Most recently she has been working on a collaborative design project with a Paris based designer and involved in plans for an exhibition featuring artists in diaspora. Lee Shields: Lee Shields is a Glasgow- based but Irish-born writer with an affil- The photo Image taken from a conceptual photo iation with most electronic music. He has always found togetherness in the sound, shoot by Jeff Mills in Paris 2019. forging early techno inclinations in Dublin’s club scene, where creativity supersedes the The concept revolves around the existence of a restrictive opening times and venues. A for- new species that suddenly arrives to Earth in large mer journalism graduate, current MSc Mar- numbers. The year is 2119. With some features keting student, and long-time music lover, that resemble humans, most of the differences are Lee hopes to carve out a career in music internal. 3 hearts, 2 brains and many new type of marketing. Currently, he is a freelance writer organs that favor the extremities of Space Travel. working in content creation and also about With more than 16 senses that have been detect- electronic music for Monument.no. ed so far, this species can appear and disappear, Frank Muller: Frank Mueller has been an defy gravity and alter its appearance to anything early protagonist of electronic music. The of matter. former machine designer for environmental technology and programmer started his musical imprints in the early nineties with iconic labels like Acid Orange or Muller Re- cords and has released techno classics on labels like SOMA or Cocoon. some music lovers might know his alter ego Beroshima.

4 The Escape Velocity CONTENTS

Editor’s Letter 3 Staffan Linzatti - The Silent Dreamers 58 Contributors 4 Staffan Linzatti interview 61 Jonas Kopp + Jeroen Search interview 6 Zoomusicology 67 Future - What wisemen said 14 Shades of Purple 68 Pierre Cardin review 16 Waveform Transmission: South Africa 74 Looking Back To The Future 24 Collateral Influence - Nasa 88 Ecilo interview 34 Ocktawian videos 94 The History of the color Silver 38 The Escape Velocity Releases 96 Metamorphoses photo review 46 Translations 136

The Escape Velocity magazine Issue Three Editor in Chief: Jeff Mills Published April 2021, Axis Records, P.O.Box 416600 Miami Beach, FL 33141 USA www.axisrecords.com. All rights are reserved. Copying and using any contents in the magazine without permission is prohibited. For inquiries, please contact: [email protected] ©2021 Axis Records

5 The Escape Velocity 6 The Escape Velocity Jonas Kopp and Jeroen Search talk to Jeff Mills

The Holographic Universe principle suggests that we’re living in a simulated reality (this is different from the hypothesis that states we live in a computer simulation). Essentially, it claims our physical world is nothing more than a detailed illusion. This illusion is actually projected by our brains, as energy fields are being decoded into the seemingly three-dimensional universe we see around us. In a more speculative sense, the theory suggests that the entire universe can be seen as a two-dimensional information structure that is “painted” on the cosmological horizon, such that the three dimensions (four, if you include time) we observe are only an effective descrip- tion at macroscopic scales and at low energies. (fron Futurism.com)

Two techno veterans who released solo albums from the Escape Velocity made a collaboration under the Hologprahic Universe theory and Jeff Mills asked questions to them.

to Jonas Kopp:

Rather than ask the typical type of questions, I think there are other ways we can know about you, your work and this project. In something like a psychological correlation exam, please respond with the first thing that comes to your mind. Here we go: Objective: Evolving in order Outer Space: Light & Vibration Inner Space: Self encounter Progress: Manifestation of the creation Longevity: Nature Happiness: Infinite Search Today, NASA officially confirmed the existence of another type of Galaxy. It is not one that is at another location outside our Universe, but it’s actually surrounds the one we are actually in. NASA also explained that they have evidence that sometimes these separate layers of Space and Time intersect that allows portals. So, it’s all true. Aliens, UFOs, Heaven/Hell, the whole Ancient Alien episode. Now what should humanity do?

7 The Escape Velocity All this information about the truths or knowledge about the universe and cosmology was and is available within us, through the intimate encounter with our energetic Being we can feel and receive all these information, which is infinite as the universe, but that would be received if the person is able to get it in order to the conscious level, which is different in every individual person and it de- pends of diverse factors as for example “time / tempo” to natural develop the personal consciousness itself. Our individual energetic Being is highly vi- brating at some point in our local galaxy or in some of the near galaxies such as Andromeda, from that star systems locations these advanced Beings project themselves using an energetic structure composed by diverse kind of energetic elements that function as a link and management between the Being and what we call physical body, a bio- energetic vehicle that we use to experiment life on Planet Earth, which is a physical planet but it also has different layers or multi frequent dimensions where in addition to us “the human beings” there is a vast diversity of energetic beings that reside on our own planet, some of them are negative polarity and some others of positive polarity, the positive ones are those that manage the life system on the planet, safeguarding the ecosystems balance, carrying the flora and fauna formlife’s. Personally, I believe that NASA and other organisations have much more information on their desks than what they are currently revealing to us, I believe that this gap in real time delivery of the information is due to the fact that most of worldwide population is not consciously ready to receive and understand many of the cosmology news and the real true of our creation and our reality. It may create a great mind chaos in most of the people and even more so in these extraordinary chaotic times in which we find ourselves currently experimenting. At the end we know what we individual try to understand in a natural way, time and tempo.

8 The Escape Velocity Images by Suzanne Treister “The Holographic Universe Theory Of Art History (2018) How important do you believe the act of using one’s imagination is to a better way of existence? I Believe that the imagination is not attached to any type of previously discovered knowledge and therefore is linked to innovation, which is the gateway to new forms and ideas that can usually change the paradigm of diverse life areas, such as technology, social, art in all it’s genres and therefore a constant advance in the evolution of our race.

What is the concept of this collaboration album with Jeroen Search? Why this subject? Personally I was looking for the right time and space to develop and translate the theory of the “Holographic Universe” into art form, some of the modern scientist are confirming this theory, that affirms that everything that exists in our universe and in our individual universe is a hologram creation, created and projected by the mind. I think that the concept that Jeff Mills has spread on Axis since the beginning of the label timeline has a close relationship with this and it’s on this platform where I really feel confident to communicate these types of concepts through visual and sound art form. Thanks you for the opportunity to communicate this concept on Axis.

How can we correlate what we hear in your music to this concept. I use to meditate to auto generate a determinate state of mind that allows me to connect with energetic elements that usually get in diverse types of visual hologram forms “holographic view” . These can form various types of shapes, structures, landscapes, figures and colors... Sometimes I visualize spheres rotating at different speeds like a large clockwork mechanism which give me the information of what kind of composing time or delays time I can apply to my sounds or what kind of layers I can create using pads. So for me, all what we create and we manifest in our reality is processed by our mind and it’s a mental process, which includes holgraphic vision or imagination. to Jeroen Search:

A Universe within a Universe, a World within a World, another reality within reality, until about 4 ½ years ago, I did not really imagine that humans would actually adapt to this realization. How we are so close to another (mentally and physically), but yet so far away by choice, not by uncontrollable consequences. What do you think this says about the human species? I think the human species in time evolved from being focussed on the group to now being more focussed on the own invidual lives. We still need other humans to ‘survive’ everydays life but we have some sort of urge to focuss on personal values I guess.

9 The Escape Velocity So far, what did/does Music teach you? And how are you applying this to your everyday life? So far music has taught me a lot of things, it is the ultimate way to express my feelings, creativity and to alter my state of mind. If there is a lot going on in my mind, for me the best way to get my head clear is to make music and to get lost in the moment, to forget about all and go with the flow. But for me also listening to music can alter my state of mind, it’s essential for me to have music around me. Having been producing music for over 25 years I still get excited of it, it never gets bored. I love it when while working in the studio that magic moment happens when you find the perfect layers needed for the particular music you are woking on. I am still recording all on the fly like I did for years, so in a way I always try to capture that magic moment in the studio, and hopefully relive that moment again when listening that music later.

Please tell us what the Holographic Universe is about? For me the Holographic Universe is all about acknowledging the fact that there must be more going on between heaven and earth. In this spiritual state of mind all boundaries fade away and you are truly free. Working on this project with Jonas was a real pleasure for me and because I know and met him in person I think it was much more easy to get this special spiritual connection which was needed to finish this project. So in this way I think we produced the album in our own ‘Holographic Universe’.

What compliment would you give humanity? What complaint would you give humanity? What advice would you give humanity? I would give the compliment to humanity that we always try to cross the boundaries and keep on developing as in technology, exploration of space and so on. My complaint is that by doing this we don’t take care enough of our own planet. So my advice would be to focus also more on environmental issues.

Let’s fantasize. Imagine a special type of biological virus that wipes away all long-term memory of humans. There is no known cure as to tinker with the human mind might be too risky. Each of us now can only remember the past 24 hours. In what ways do you think this could change the evolution of humanity? If we can only remember the past 24 hours and without the possibility remembering the past I think the oldest part of our brain, the reptilian brain will take control of us. This oldest part of the brain controls the body vitual functions, but is not able to memorize anything. If this happens I think the evolution of humanity will stop.

10 The Escape Velocity 11 The Escape Velocity Giri Antichthon

out now

12 The Escape Velocity Jeff Mills & the ZANZA 21 When The Time Is Right 12” EP out now www.axisrecords.com 13 The Escape Velocity Future - what wise men said

The Shape of Things to Come. (H. G. Wells)

The future is no more uncertain than the present. (Walt Whitman)

In the future, everyone will be famous for 15 minutes. (Andy Warhol)

Still round the corner there may wait, a new road or a secret gate. (J. R. R. Tolkien)

I think life is far too short to concentrate on your past. I rather look into the future. (Lou Reed)

To me there is no past or future in art. If a work of art does not live in the present, it must not be considered at all. (Pablo Picasso)

14 The Escape Velocity People can foresee the future only when it coincides with their own wishes, and the most grossly obvious facts can be ignored when they are unwelcome. (George Orwell)

The future’s uncertain and the end is always near. (Jim Morrison)

The illiterate of the future will be the person ignorant of the use of the camera as well as the pen. (Laszlo Moholy-Nagy)

The good times of today, are the sad thoughts of tomorrow. (Bob Marley)

I have been taking every step toward the future every day through making many Still round the corner there may wait, a new road or a secret gate. (J. R. R. Tolkien) paintings and sculptures with my deep emotion hidden in my life. (Yayoi Kusama)

The painter of the future will be a colorist in a way no one has been before. (Vincent van Gogh)

Some people would say my paintings show a future world and maybe they do, but I paint from reality. (H. R. Giger)

Tomorrow belongs to those who can hear it coming. (David Bowie)

15 The Escape Velocity PIERRE CARDIN

Just look around, the visionary designer Pierre Cardin was right about so many things. To just say Cardin was ahead of his time would be marginal and only a minute fraction of the complimentary magic he wielded throughout his long and illustrious career. He was the designers’ designer and made “future” like no one else. Even today, his ideas wait for the World to catch up. And “why does The Escape Velocity, a magazine about Music pay tribute to a fashion designer” you might ask? We do as a reminder that humanity is sometimes gifted with certain people that are designated to show us the way forward. Whether through Music or by the clothes, we rest assured in knowing there are those that never stop thinking, never stop dreaming.

16 The Escape Velocity 17 The Escape Velocity 18 The Escape Velocity “The Clothing I prefer is the one I create for a life that does not yet exist, the world of tomorrow.” - Pierre Cardin

19 The Escape Velocity 20 The Escape Velocity ©Pierre Cardin

21 The Escape Velocity Detroit’s Saxophonist Rafael Leafar and Jeff Mills travel the depths of the subconscious to unearth “The Override Switch”. An album of deep rhythms, ceremonial frequencies and a new special language we haven’t heard before. Techno Music loves Free Jazz.

22 The Escape Velocity Jeff Mills & Rafael Leafar The Override Switch Double vinyl + digital coming in October 2021 23 The Escape Velocity Looking Back To The Future by Sheree Rashit 24 The Escape Velocity At this point in time 2021, after a devastating 18 months, post pandemic we cannot forecast the way things will progress. Some predict a new ‘roaring’ 20s will emerge, others a more dystopian outlook. One thing that is certain is that the theme of ‘space’ is in the zeitgeist. There’s the highly anticipated declassification of the Pentagon files into U.F.O. sightings arousing speculation, alongside the current batch of billionaires jetting off on their personal galactic missions, with the intention of trips to the moon by 2024 and space as the alternative destination for future customers. Space is the current fascination.

Music is the reflection of personal investigation but can also be very much of the moment from which it evolves, in many cases the popular climate permeates and is reflected artistically. Currently many mainstream artists within pop and rap are revealing their captivation with all things extra terrestrial via their output, both musically and visually, embracing alter egos/ identities and reflect- ing this within their performances and videos. The video Kiss Me More, reveals Rapper Doja Cat and singer Sza as pink aliens; musician Grimes has alien tattoo ‘scars’ on her back ; Demi Levato believes they made contact with aliens via meditation, to name but a few. But how does this relate to futuristic techno music, long associated with concepts predominantly related to the cosmos, outer planetary experiences and investigation relayed through the sound, often accompanied by visual imagery, but not a personal visual identity? Techno musicians have tended to want to retain an element of anonymity, dependent on the aural and stage visuals to convey their message, is it time to expand on this with techno artists embracing a cosmic performative persona?

Emerging from Detroit, techno music is perceived as a forward thinking, futuristic genre that defined an era, especially on the dance floors worldwide, where dj/ producers maintain iconic status. It is no accident that artists from Detroit, with its profound musical heritage and industrial landscape of the ‘motor city’, ar- ticulated their music in a progressive iteration, sometimes perceived as futurism with a funk undertone.

25 The Escape Velocity When the space age took off in the late 50s the world’s imagination was fired up. The ‘space race’ and Apollo launches culminating with the first moon landing in ’69 dominated the cultural landscape in a way that still resonates today. An increasing pre- occupation with the future and technology exerted itself influencing popular culture, fashion, architec- ture, design, art, film, TV and music. A generation grew up imbibing films such as 2001 Space Od- yssey; TV programmes along the lines of Star Trek and The Jetsons gained cult status and a prolifer- ation of sci fi comic books harnessed imagination. It precipitated a time of pure escapism and future possibilities. This zeitgest fuelled musicians some Some, artists in their own right, consistently challenge the status who created concepts and explored their musical quo, pushing boundaries to extend their artistry and concepts output in association with the cosmos and escapism. to transport the audience and transmit their message. There is a tendency to create a mysterious aura around electronic artists in this field, maybe early proponents of this were UR, convey- ing their intention via concepts and music, they eschewed the limelight, adopting an independent political stance. Techno was first embraced by events held in industrial, disused spaces and warehouses, often cavernous, many venues could be described as dank, filled with life by music that transported the audience to another realm. Rather than relying on a dress code, as with other subcultures, the emphasis, to quote the aforementioned UR, was ‘music for those who know’. The communal allegiance being with the music, the emphasis was not on the spectacle. When considering whether there is a possibility for futuristic techno electronic musicians to adopt a fantastical alter ego or performative identity it’s worth looking at musicians outside of the genre who have adopted a persona in order to take their music forward or transcend and express their astral visions.

26 The Escape Velocity Regarded as a pioneer of Afrofuturism and proponent of free jazz, Sun Ra is a prime example of an artist living their belief system, expressing it through their whole being and creating a visual identity of sincere expression. His philosophy was fundamentally concerned with transcendence; racial oppression that needs to be transcend- ed. Sun Ra’s lyrics and poetry contemplate spirituality and the pursuit of a deep connection with the cosmos. Cre- ating a new persona by adopting the name of the Egyptian Sun God, Sun Ra and claiming to be from Saturn, the Sun Ra Arkestra was formed in the 50s. Arkestra music is a sonic blend of meditative grooves and cacophonous dissonance. Space Jazz. Sun Ra Arkestra performances were fantastical, complete aural and visual experiences that energised and encompassed the audience within their ritual, presenting a pan-cultural melange of myth and science. On a quest to illustrate how the future could be while channelling his namesake Sun Ra, Ancient Egypt and the space age, image added to the mystique. Sun Ra dazzling in golden Egyptian inspired attire, the Arkestra donning shimmer- ing gowns, capes, hats and helmets. His 1974 film Space is the Place is regarded as a radical classic. The message may have not been so potent if reliant on great musicianship alone, the performance not so captivating or as much fun? It is indisputable that the visual imagery is integral to the performance and identity of Sun Ra, a visual affirmation of the existence of another world.

27 The Escape Velocity Another ‘out there’ being, George Clinton’s Parlia- ment/Funkadelic sent funk to outer space in the’70s and ‘80s. Conflated to P-Funk (pure, uncut funk), the exploration of sci-fi and space mythology was indi- visible from the music, taking Afrofuturism into the domain, fusing cosmic narratives with funk, psyche- delia, jazz, and electronic music. In the creation of the P-Funk universe, Clinton freely acknowledges the influence of cartoons and TV shows. Parliaments’ sem- inal Mothership Connection is the ultimate concept album, introducing their Utopian imagining. Colourful characters were created as alter egos for the musicians, portraying an infinite, predominantly black, sicians, portraying an infinite, predominantly black, galaxy of heroes and villains, cultural negotiators of the future. Parliament’s spectacular live shows invited the audience to take a trip through the weird and wonderful universe of P-Funk. The Mothership makes an appearance, the shim- mering UFO that emerged from the ceiling surrounded by pyrotechnics and swirling smoke. Populated by characters such as Dr Funkenstein, Star Child and the Afronaughts, they are dealers in funky music with superhuman abilities to control their audience and the intention to use their funk for good. Funk will mediate between groups and unite humanity with ‘the extra terrestrial brothers’.

The opulent costume, more than played it’s role in creating the identity of the characters /musicians and the ensuing style it became associated with. The impact of the look was such that it influenced the mainstream becoming part of the lexicon of fashion and style of the 70’s, associated with an attitude of funk and dressing up. In order to achieve his vision Clinton collaborated with costume designer Larry Legaspi, ‘the king of intergalactic chic’. The costume became a crucial entity to realising the concept. Creating a whole experience, the atmosphere at a Parliament show was exhilarating, expressive and more than a little fun. 28 The Escape Velocity This was an era of opulent visual identity for musicians across the board, the aforementioned Legaspi, attesting his costumes to being fantasies about the future, also designed for Funkadelic, Kiss, Labelle, Grace Jones, Betty Davis, Diana Ross ad Divine, amongst others, a regular who’s who of star studded icons of the day. Plaudits of his work include Star Wars costume designer Michael Kaplan and fashion designer Rick Owens, who produced a book on Legaspi and paid homage by dedicating his Fall 2019 to him.

David Bowie, the consummate space man, his myriad personas created characters integral to his musical projects, a performance art perspective with space and alien (or alienated) characters at its core. From his out- break 1969 Space Oddity hit, the character of Major Tom being based on Dr Bowman in 2001: A Space Odyssey, his association with all things cosmic was cemented.

With alter ego Ziggy Stardust, a fictional, and rogynos rock star sent to earth to save the world from disaster, the accom- panying fabulously outrageous visual image spoke to his audience, allowing them to identify with the character. Ziggy resonated not only with those who wanted to be entertained but also to the alienated who, possibly on account of sexual identity, feelings of being misunder- stood or exploring self expression, found themselves attracted to this extra glam being and the music exuded, finding meaning in the lyrics and inspiration in the outfits, iconic fashion looks ensued. But this was also the place- ment of ‘rock star’ as a ‘god’, allowing the following to ‘escape’ their daily realities. Bowie had expressed that in creating Ziggy Stardust it was a simple concept, other people/audience re read him and invested more in Ziggy than he’d put in, thereby giving the character cult status and immortality. A music maverick Bowie continued to create alter egos aligned to musical concepts throughout his musical career, culminating in his last album Black Star, with conjecture as to whether it’s relating the cosmos, his impending death or a nod to Mos Def and TalIb Kweli’s Black Star project, having professed his love for their music and track Respiration.

29 The Escape Velocity 30 The Escape Velocity When questioning whether there is a need for an alter ego or performative identity, and why, as can be seen from these few examples for some musicians, there is. It adds another dimension. Historically ‘dressing’ has gone hand in hand with performance and formed escapism, both for the performer and audience, helping transfer them to another level, not only through the aural impact of the music and where it takes them but also the visionary aspect of the performer. There is a psychological term, ‘enclothed cognition’, used to describe the effect clothes have on emotions, self - eval- uation, attitudes and personal interaction. Research maintains behaviour is affected due to the symbolic meaning that society associates with different types of dress. When considering the performer, embracing an ‘identity’ or alter ego can potentially allow them to extradite ‘themselves’ from the process, empowering them, allowing them to identify with another side of themselves living as another being, pushing them beyond their limitations, a freeing process. For some artists it may allow them to channel their message via the ‘character’ with confidence, as it is a role they adopt purely for the performance. This is part of their artistic process, they delve deep within and some reinvent themselves in order to become themselves.

It is worth taking as an example, an artist unafraid to expose their inner self, the captivating, enigmatic appeal of Grace Jones whose ‘look’ and visual attraction was synonymous with her musical output, very much part of her artistry. Her groundbreaking androgynous portraits were a collaborative process with photographer/ illustrater Jean Paul Goude, and undoubtedly cemented her position as a potent creative force. Exuding a sensuous, mystical quality, projecting a larger than life attitude, that of the individual she was unafraid of taking risks and projecting, in the process becoming an icon, a warrior queen. It could be questioned, is there room for this in future techno? Is there the space for someone to connect to their ‘whole’ and display with attitude? There is also the role played in transporting the audience. The entertainment element and escapism not only that which the music provides, the out of body experience, but also the setting and the sense of investing in a character that is ‘other’. It can provide escapism from the every day, the mundane, an opportunity to dream via channeling that ‘being’, as has been previously noted with the Ziggy Stardust persona, whereby the fans take ownership, the audience investing in the performer allowing them to reflect their own dreams. Why within techno, especially those espousing cosmic concepts has the mantle not been taken up and created a visionary visual persona/alter ego? Perhaps it’s a reflection of the times and the environment within which it grew. Possibly the most ubiquitous influence on mainstream music culture since its inception in 70s New York, Hip Hop /rap is now a global phenomenon. The influence of the culture on street style and fashion needs no discussion, but there is a flamboyance that runs alongside artists within this area when it comes to stage performance and videos. Now high profile artists within the field have expansive budgets and sets and luxury designer wardrobe designed to dazzle. But even from the early days the aspiration was there and there’s been a man on the inside, Dapper Dan, creating looks with swagger. Now considered an influencer he produced customised pieces and designs for the likes of Salt-N- Pepper, Eric B and Rakim, repurposing logos from the likes of Gucci, Louis Vuitton and Fendi onto tracksuits, bomber jackets and baseball caps, ’knock ups’ as he referred to them.

31 The Escape Velocity This was not the way with techno. Embraced by Berlin and the UK, the focus on their nights was on the ‘underground’ scene being the antithesis of glitz and glam, it was not about the cult of the visual personality of the performer. The emphasis was on the music. Venues were dark, lighting minimal, the audience embraced within a cocoon of sound, being their transcendent experience. Concepts, artwork and titles were relevant in articulating the message. The djs performing had a tendency to sublimate themselves within the environment, not stand out, a militaristic stance of non-conformity and independence. If any ‘fashion’ were to be identified it could be that of apparel inspired by military clothing and combat trousers. As the music and audiences grew, culminating in large scale events, the evolution was geared towards visuals identifying with the music and concepts as opposed to the performer. Mini- malism played its part, not only as a musical concept but within the aesthetic of dress of the artists within this field. A ‘Normcore’ approach as opposed to attention grabbing alter ego.

We’re now on the precipice of a new era. With ‘space’ travel a byword for escape, it may be the moment for the imagination to be refuelled? After more than 30 years of progress, and a form of music that advances with concepts aligning to the celestial, investigating the exploration of other worlds, this may be the time for a new conceptual persona to emerge from within the space oriented techno community. In the future will we see significant collaborations between techno artists and costume designers in relation to their visual impact? Who will be brave enough to embrace the alter ego? Time will tell.

32 The Escape Velocity the Escape Velocity T-shirt available at www.axisrecords.com

33 The Escape Velocity 34 The Escape Velocity A Conversation with ECILO

JM: In Techno Music, it is rare to find Artists and Music from someone such as yourself who is based in Jakarta, Indonesia. Yet, when listening to your music, it is easy to hear and sense a universal language that might stem from the fact that, as humans, we share the same view and distance from what surrounds us. This distance, a certain level of curiosity and the skill to translate these feelings into sound and music seems to show us just how linguistically Techno Music can be. In your opinion, how do you feel about what divides us as well as what brings us together closer?

Ecilo: What separates us is the difference in culture, mentality and source of knowledge. And, the thing that brings us closer together is the human feeling & the similarity of Vibrations. Music always has vibrations.

JM: How would you describe the sound of your music - its Techno, but how does your physical surrounding influence what we hear?

Ecilo: I always describe my music as a code of my feelings, either what I see, hear or feel.

JM: There are fewer Techno Artists in Asia than in the West, but like in any other part of the World, we all look up to the Stars and wonder, translate those questions into sound and propose them to listeners. As a provocateur, what is the most important element to note about your music on this album?

Ecilo: You can hear the texture and shape of my music. But the most important thing is that you can feel hope and passion.

JM: How do you define the term “Techno” Music?

Ecilo: Techno is Intelligent dance music.

JM: What is the concept of the “Uncovert” [album] and how does the album artwork connect to that?

Ecilo: The basic concept of the album is about the singularity of technology. What we see in the realm of fiction is becoming real. While the eyes itself describes the Artificial Intelligence that ruled the world, if you look at the door on the design, that’s where your door is run to another world or another space. In this album I reveal what kind of journey you encounter beyond that door.

35 The Escape Velocity JM: Recently, the US Pentagon officials announced to step up their efforts of research about unidentified flying objects. In a certain case, US military pilots saw an object that seemed to defy all rules of physics and that it possessed a technology that could be 100 to 1,000 years more advanced than ours. As just a guess, we must also assume that certain things humans create and generate naturally might be even more unique than we realize. Let’s imagine an alien lifeform can hear and detect all sound coming from this planet, how might that change the way you make music if this situation were proven to be true and fact?

Ecilo: I imagine that creatures or Aliens must have known all the sounds on earth, from the basic element of earth to the sound that is made. I will try to capture the sound of human life around me from babies crying, people laughing happily, people activity and trying to mix them into harmony, because every human expression have vibration. And the message is that the world’s civilization may be left behind but this world has a beautiful life.

JM: Who in Music has influenced you the most? Why?

Ecilo: It would be unfair if I give one name because there were so many influences on me. But I try to reduce it to 7 names. John Coltrane, Quincy Jones, Prince, Ryuichi Sakamoto Madlib and Jeff Mills. They all had the same consistency, hard work, exploration and invention.

JM: We know that one of the earliest Asian musicians to use Electronic instruments was Teddy Robin, the Chinese front man of the pop rock band Teddy Robin & the Playboys in the 1960’s, But, the art form of Techno is more than just sound, it’s a certain ad- venturous spirit and outlook for the future too. Are there any Indonesian nationals (past or present) that encompass this type of mentality that might have an influence on people in their creativity?

Ecilo: There is a guy named Harry Roesli if we listen to his work between 1970 to 1980, containing elements of Blues, Rock, Contem- porary, a little Jazz, eccentric on lyrics and very progressive. Especially Ken Arok Album and Titik Api Album.

JM: Of all the tracks on the “Uncovert” album, which one best represents the concept and why?

Ecilo: I think all the tracks on this album represent their own worlds. But there are two tracks which in my opinion really represent the album, first Uncovert the second one is Dalang Antariksa. When You hear “Uncovert” you will be taken to an atmosphere of curiosity and when you hear Dalang Antariksa you will hear the sound of Dalang or Mastermind that control all the universe.

36 The Escape Velocity JM: If every Techno producer in the World were reading this interview, what would you like to say to them?

Ecilo: Techno isn’t just about sound design and all techniques but don’t forget that the music itself has to convey the message.

JM: Where does your musical roots start?

Ecilo: I grew up not from a musician family at all. When I was in elementary school, I watched a lot of my friends play in a band and I thought it was cool. I started my music career in junior high school as a vocalist. I have a band that only plays blur songs, after that I was not satisfied that I learned bass guitar to form a special metal band covering Metallica songs like Seek and De- stroys, Master Of Puppets and many more. In early 2000, I entered high school. A friend of mine gave me new influences, from Hip Metal to Acid Jazz. It started to change the way I saw how I played and listened to music. After that I had to stop for a while from music because I was tired of having bands that always broke up. After that my friend named Oki Koro introduced me to House music. The rest is history.

- interviewed by Jeff Mills

37 The Escape Velocity The history of the colour SILVER

by Lee Shields

38 The Escape Velocity All that lies in front is silver; chrome textures fill the sky where the lining casts a hue that once felt completely alien. Existence finds itself on a path toward a lustrous encompass, as the native metal silver and its metallic colour seem to encapsulate a futuristic utopia. This colour denotes futurism and neutrality that escapes the human condition. Sleek, efficient, wealthy, and ornate, its embellishment into cultural society embeds it within our thought process as a symbol of mystique and Sapien hyper development.

All that lies in front is silver; chrome textures fill the sky where the lining casts a hue that once felt completely alien. Existence finds itself on a path toward a lustrous encompass, as the native metal silver and its metallic colour seem to encapsulate a futuristic utopia. This colour denotes futurism and neutrality that escapes the human condition. Sleek, efficient, wealthy, and ornate, its embellishment into cultural society embeds it within our thought process as a symbol of mystique and Sapien hyper development. Silver has been multi-faceted throughout culture, whether that takes the shape of a spoon, cloud, tongue, or a bullet from a gun. Silver is a rare native metal that is found in its pure metallic form. It can occur in cubic, octahedral, or dodecahedral crystals and as a dendritic overlay or asymmetrical fragments in the state of nuggets or grains. It can be traced back to prehistoric humans and is known as a metal of antiquity. Due to the difficulty in extracting and locating such metal, it gained an elitist status, like gold, in earlier civilisations. It is one of the earliest signifiers of wealth, as people used it to barter in exchanges and can be considered one of the initial forms of money. Its highly reactive nature and the difficulty with extraction had it as a more valuable element than gold to the Egyptians. It was the predominant form of currency for the Roman and Greek empires, and historians found minted coins concerning the kingdom of Lydia in Asia, dated around 600BC.

39 The Escape Velocity This fragmentation of wealth around the globe was also instilled through ornamentation. Silver was used in the production of busts, statues, jewellery and silverware. There are famous works like the Silver bust of Serapis, Adam van Vianen’s Plaque with the Wedding of Peleus and Thetis and Paul van Vianen’s Diana and Actaeon basin. These were all symbols of status and a flaunting of wealth that appeared untenable to the common folk. However, throughout time, silver became more common and achievable to the layperson. Its hazy reflectiveness can represent a mirror to one’s core and how they are viewed by those around them and also becomes a symbolic reference to its interpretation. It depicts a viable future; it’s predictive, and its misty mirroring allows people to see a distorted image that their mind can shape however they see fit. Looking into a silver spoon offers a glimpse into a real yet manipulative image. It lends itself to the dreamer, and that may be why it has become the colour attached to sci-fi and a technologically advanced future that won’t be shackled to this planet. Silver is unassuming; it takes both white and black, light and dark, and amalgamates them in a state of neutrality. That feeling gestures to a space of calm serenity, unclouded and streamlined. It is said to draw out negative energy and replace it with positive, and with its inner reflective nature, it allows for a capacity of creative flow. With its pensive demeanour and thought evoking prowess, people use it to plan and create for the future; however, too much of anything can turn any situation sour. Silver has an emotionless side that is rather cold, and its contemplative character can mutate into indecision. Its close relationship with grey can lead to feelings of solitude, depression and isolation. Nevertheless, the separation is through what glistens, which gives hope for tomorrow and what can be. Silver in contemporary society is paramount to driving civilisation forward. It is the best conductor of electricity due to its large number of moveable atoms and has been a vtal part of technological advancements. It is paramount in electrical switches, soldering,brazing, solar panels and a myriad of other uses in modern technology. As such, it is at theforefront of the development of humankind. Nothing is more of an exemplifier of this than the first expedition into space. The Mercury suit usedby NASA was the first protective layer used by astronauts in their escapade to orbit around the earth. It’s was used to keep their temperature as stable as possible and was carried into the Gemini mission with added flexibility and comfort. 40 The Escape Velocity However, at the heart of the colour choice is the sci-fi attachment to the colour. Many scientific developments are manifested first through sci-fi, which is the embodiment of human imagination in how society will develop. It is a colour of dreams that anything is possible. Many kids may have seen their strange and twisted fantasies play out on the silver screen in the form of films like Blade Runner, Alien or 2001: A Space Odyssey. The colour silver is at the forefront of these directors imaginations; it pushes them to something that isn’t quite human, to a future unbeknownst to any of us yet but is on just over the foggy horizon. Silver is not just beholden to sci-fi and technology; it has become a staple of fashion and has dictated trends. Designers presented silver pieces in their Fall/Winter 2020-2021 collections, and metallic textures and designs are becoming more commonplace. Not only does it give an air of affluence, but a juxtaposition of the past and present. It amalgamates in disco chic and sleek futuristic design. Fashion then becomes a fair representation of the colour: always the future or the past but never the present. Reflective yet distorted; clear yet marred; hopeful yet doubtful; wistful yet cold; creative yet ponderous. It catalyses creativity, whether from sidling through memories of times gone by or being immersed in a shiny silver future.

41 The Escape Velocity Casual Treatment The Appearence Of Life Coming August 6 2021 www.axisrecords.com

42 The Escape Velocity 30drop presents a new conceptual album developed as a speculative experiment and based on a hypothetical plant-life evolution in different planetary environments. It also considers the possibility that these new life forms reached advanced intelligence and technological development. Interactions at the molecular level develop different forms of life from the simplest to the most complex. Life as we know it is based on carbon and developed under very specific environmental conditions, while largely adapting to its changes through evolution. But what could happen if some plant forms found the way to distant planets? How would they evolve and develop under very different environmental pressure? Other combinations are possible and therefore other forms of life are also possible. Plant-life could become something much more complex, developing into intelligent and beings if the necessary conditions and combinations were given to do so. The album portrays those hypothetical and alternative molecular combinations in the form of songs. Exposed to different chemical elements, gravitational and environmental conditions, dormant genes and signaling pathways are activated and uncannily combined. And just like the molecular events, sounds are combined in different ways, whether simple or complex, to create songs that provide an artistic vision to that scientific concept that opens a hypothesis to other types of intelligence that are far from human and that could exist in the vast out there.

30drop - Photosynthetic Zone Manifesto available now at www.axisrecords.com 43 The Escape Velocity “My approach to art is one of absolute dedication. It feeds my life to the fullest, It doesn't make me feel empty. I feel art is like a strong spiritual form that impresses you with positivity every day and makes you face life to the fullest.” - Raffaele Attanasio

44 The Escape Velocity 45 The Escape Velocity Jeff Mills presented the project, Metamorphoses with Dairakudakan dancers and the Arboriculturist Yuji Ueno

Central Tokyo, November 2017. The Metamorphoses Live event was an eclipse of a different kind. It was a criss-crossing of creativity and provocation lead on by the work of writer Franz Kafka. There was a death, a transition and a birth but in no particular order. The concept consisted of a pair of storytellers, One who only used 2 analogue reel to reel tape players for his special soundtrack. The second, an arboriculturist giving something its life back. The stage setting was cinema-like, only the dark shadows of large pieces of driftwood positioned to resemble a dead tree took up a large portion of the stage. In the back and never facing the audience, we find Jeff Mills laboring from tape player to the other. At a point in the program, 6 dancers that were hidden in the audience slowly stood up and began to transform into in- sects. Peeling away their skin to reveal their new bod- ies, the audience was in shock and disbelief, but then what did they think a Kafka meant? Deeper down the program, Mills starts to spool off the analogue tape from the tape player reel to the floor of the stage to create a pile at which a gentleman appears and begins to pick up the tape and starts to hang them on the dead branches of the tree to replenish it once again. To give it a new life as a “entertainer”, not a tree.

Photographs by Moto Uehara

46 The Escape Velocity 47 The Escape Velocity 48 The Escape Velocity 49 The Escape Velocity 50 The Escape Velocity 51 The Escape Velocity 52 The Escape Velocity 53 The Escape Velocity 54 The Escape Velocity 55 The Escape Velocity Imagine the violence of a Gamma Ray, violence in this area can be beautiful, because infinity has different forms of expression, and one of them is to find beauty in its violence, sometimes perceptible to the human eye. This is Gamma

Imagine the violence of a Gamma Ray, violence in this area can be beautiful, because infinity has different forms of expression, and one of them is to find beauty in its violence, sometimes perceptible to the human eye. This is Gamma Ray

PUSHMANN out now www.axisrecords.com

56 The Escape Velocity Nørbak Flor Do Fatalismo available at www.axisrecords.com

57 The Escape Velocity We all frequent that world regularly, a world that unites the past, the present, imagination, fears, sorrows, joys and visions of the possible future in a fragmented state of timelessness. The dreamer is normally unaware of the dream being just a dream. While being engaged in this state the dreamer need not make the distinction between what is real, in the traditional sense, and what is not. In the later half of the 21st century, technology has advanced enough for people to live out their fantasies in a dream-like state. With these new machines... if reality is what we perceive, then what we perceive must be reality. We humans have always been fascinated by our dreams and we constantly attempt to rationalize the elusive dream world, seeking to lucidly translate its seemingly chaotic nature and fit it into our cognizant world. While at first, the interest was purely psychological or spiritual, the invention of the first dream machine quickly changed things. The dream machines were used extensively as pure entertainment, where only one’s imagination set the limits of the experience. There were, however, people who believed that these machines could potentially solve several social dilemmas emerging throughout that century. Most shrugged at the idea of the play-technologies having any sort of impact on human life moving forward. However, it turns out the creation of these machines would reshape or rather, ...expand our defini- tion of what is considered “real”. A conscious ocean of bits, bytes and wires. Floating DevicesTM, as they are called, sister tech to cryo sleep tubes, enable people to enter a dream- world fueled by their own subconscious mind through real-time electrochemi- cal analysis of individual neurons in the hippocam- pus, projected back into the player via a network of neural synthesizers. The players inside the machines... asleep. Peaceful and motionless on the outside and completely shut out from common reality, but fully alive and living inside the infinite possibilities of their minds. We call them “The Silent Dreamers’’. As one small step forward in science and technology can very quickly give way to many larger leaps in technological advancements, given the right cultural and market conditions, dream tech was developed and ready as a consumer product in record speed. This of course, was from standing on the shoulders of countless hundreds of thousands of years spent in awe of the mystical dream state, wondering and theorizing.. and in the later years of human culture, mankind could finally create a portal and peek through into the mythic realm of the unconscious mind. One thing that has not developed as fast as our ability to induce and make dreams a part of people’s wakeless reality, is what dreams actually are. Sure the general consensus is that dreams are a part of our brains’ defrag- mentation system - optimizing and organizing memories as well as processing input received from all senses throughout our lives.

58 The Escape Velocity Am I a part of your dream or you of mine? Dreams affect us. We have all experienced that one bad dream of the night, the one you remembered waking up. Your coffee doesn’t quite taste the same, your step doesn’t have as much spring in it as it had the day before. Was it simply a randomly appearing memory inserted into a chaotic context that forced an emotive response during REM-sleep? Maybe... most likely. The cause, or rather, the causality here is not that important. It was felt and experienced, and a response was triggered. The unconscious and the conscious world bleeding into each other like waves crashing on a beach. The dreamer is affected by the dreams, but the dreams also affect the dreamer. One could argue that the major difference between the physical and the dream is that one is “real” while the other is a fragmental atemporal representation of what has previously been “real”, or could be. But what is “real”? A dream while being dreamt is certainly “real”, how could it ever be dreamt otherwise? A factory of dreams. A wireless cybernetic implant attached to the player’s upper spine enables the user to feed suggestions or dream al- tering signals called “path links” into the user’s brain. A patchbay also enables several users to link up their devices creating a shared experience, in hospitals this was a popular way to spend time with a close friend or relative who had chosen to be placed in temporal suspension. A very popular way to spend the final digital eternity in one’s late golden years. The major difference between the two systems is that the floating devices do not halt or slow down the aging process like the temporal beds do, and the temporal suspension technology is a simulation experience, while the Float- ing Devices more closely resemble reality creation. “Real-world problems” Some people claimed this to be an elaborate plan to counter the growing global overpopulation. A way to do away with the less appreciated members of society. This has since been brushed off as a rather paranoid theory. The idea of being able to once more live out a long lost memory or experience that special moment in the past one more time is something we all have thought about and most entities agree, in that the floating devices were merely a casual source of simulation entertainment. It was indeed true that a large percentage of mankind had chosen to live out the rest of their lives in a Floating De- vice. Naturally, several large mega corporations took advantage of this new lucrative market of dreams and set up permanent floating banks, some big enough to store millions of players, wherever they found a market. And where they couldn’t find one, they made sure to create it. What is it like living out the rest of your life without ever waking up? As more and more people were choosing to become players or “Silent Dreamers” it became clear that for whatever rea- son, a new start in a completely different world, might be your perfect refuge. This new tabula rasa was ready for you to expand further inward, forming your new reality. A reality written, cast, directed, viewed and enjoyed... exclusively by you. While the thought of living out your life in a permanent and irreversible slumber, and not in the traditionally “real” sense experiencing the joys, hardships, challenges and other overwhelmingly physical experiences that, in the “real” world shape one’s life... While that might sound unimaginable to some - I think we can agree that we are all dreamers, asleep or not.

59 The Escape Velocity 60 The Escape Velocity A Conversation with Staffan Linzatti

interviewed by Jeff Mills

You been creating and composing Techno Music for many years. With your distinctive style and sound, what would you say are your most important influences? Axis records have always been a big influence, as well as science fiction movies, books and video games. The movie “Aliens” (as well as the first movie) is one example of a movie or movies that really made a big impression on me. The music, atmosphere, and the world building is truly inspiring. Another example is the book “Rendezvous with Rama”. Arthur C. Clarke describes the events in the book in such a colourful and detailed way that you as reader are a part of the story. Reading the book was an eye-opening experience that inspired me to become a better storyteller through sounds and ideas. I find that watching a movie or reading a book that depicts or contains a world that stretches beyond the specific events that take place in the story sparks my imagination a lot. A very good example of this is Joseph Sargent’s film “The Taking of Pelham 1 2 3”. Even though the whole film pretty much takes place in a subway car you get the feeling that there is a living breathing world beyond what you see on the screen. That’s not exclusive to movies by any means but can also be present in music. Naturally I also draw a lot of influences from music of different styles and genres like Soul, Disco, Jazz, electronic music etc. My brother Mathias has always always been a big source of inspiration for me - both as a DJ and in the studio. Another example would be Steve Reich as well as the Penguin Café Orchestra. Both of their music have this special ability that just fires up your imagination.

61 The Escape Velocity Where does your relationship with Music come from? Do you have a background in Music? I do not have a background in music however while growing up there was always music played in our house. My brother introduced me to electronic music at an early age. He was also experimenting with various music software. The programs seemed incredibly advanced and complicated but most importantly they were fun to use. Hearing and seeing what my brother was creating naturally piqued my interest. He later bought a pair of turntables at an early age and subsequently started collecting records. This opened up a new world of music to me. Anyone that knows Techno Music, recognizes your name, your body of work and your sound, but what type of person are you? What is your character? That is not an easy question to answer - I suppose that my character is entirely to blame for that! I am curious yet shy. I think and analyze a lot, for good and bad. In the studio all facets of my character, of me, are incorporated in the writing process. My character or personality is embedded in the themes and sonic palette of my music. I do not believe this is something that is exclusive to me but rather something most if not all musicians draw from - consciously and/or subconsciously. It might sound very much like a cliché but the music I write, record and release helps offset the introvert and shy part of me. The music with my ideas, thoughts and sounds reach and communicate with people I otherwise might not have had the possibility or ability to reach out to on a personal level. Of course knowing who someone truly is purely by absorbing their art is for the lack of a better word almost impossible. However, it does provide you with an opportunity, a snapshot of a moment in time and space in which a connection to the person behind the music can be established and built upon.

You have a unique way of using harmonics in your compositions. Is there anything you use in your studio surrounding that might attribute to how your music sounds and feels? I would not say that the essence of my sound can be linked to any specific type of thing. My setup is very basic in the terms of the tools I use. Nothing I use is in itself irreplaceable. Tying into the previous questions I think my state of being, the journey and the experience I have gained is more responsible for how my music sounds and feels than anything else. I ‘ve never had any musical training either. Exploration and curiosity was always the way forward, and I think that that can be heard and felt in my music.

62 The Escape Velocity What is the concept of this album Silent Dreamers and why did you choose this topic? The Silent Dreamers describes our not too distant future in which technology has advanced far enough for people to ultimately change how their reality is conceived. It is a story about a world or rather several worlds on different planes of reality. A “Silent Dreamer” is a person who is no longer “awake” in a normal sense, no longer living life like you and me today. Instead “Silent Dreamers” are asleep living in a reality created by their own imagination, a world or worlds that draws from all their previous memories and experiences. To us they are merely sleeping, but the “Silent Dreamer is very much alive and awake on the inside. The idea for the story gradually came to life when I was approached by Jeff regarding the Escape Velocity. I was thinking about how reality is both subjective and objective in how it is perceived and experienced and how we, in the future, will most likely be able to experience reality(ies) in different ways using technology. Some people might use this technology as a means of refuge from a life becoming too unbearable to live. Others might use the technology merely as a means of entertainment. The pandemic also had a big part in why I decided to explore this topic in the way it has changed how we currently live our lives and how it affects us mentally. Our reality has changed as a result of the situation we are facing. Technology’s potential for enhancing and enriching our quality of life and existence is only limited by our imagination and I think it is only natural to think about how it could also help us explore ourselves as humans both “extrovertly” and “introvertly”. When growing up in the US as a child in the 1970s, there was a movie entitled West- world that had a deep affect on me. The unique concept has since been revisited a few years ago, one that can still be seen on Netflix. In short, a corporation had created an amusement park-like vacation where you could live out your dreams and fantasies and return back to normal life. Like the TV show, Fantasy Island, another similar concept and TV program of the 1980s, people could be something that wished. Today, do you see indicators or signs that this type of experience could be a reality? Yes, I have no doubts about that kind of experience being possible in the not too distant future. Video games are a good example of how far things have evolved. For example you are now able to experience games on a completely different level of immersion through Virtual Reality - something that seemed like science fiction only a few decades ago.Virtual reality has existed for quite some time now, but the experiences possible with VR today are vastly more advanced and immersive than during its early days. Concepts like “suspension of disbelief ” may soon be completely obsolete when it comes to consuming entertainment if the experience itself is indistinguishable from reality. 63 The Escape Velocity It could be said that by becoming someone or something else allows to see your self at a distance more clearly. And that by having such a self-measurement could have profound affects on how we treat each other. What do you think could the benefits and disadvantages to having such options? Being able to view your own actions as an outside observer would certainly let you examine and scrutinize a particular situation or interaction and your response to it on another level. However, I think it is important to always account for the time and happenings leading up to that specific situation or action and view it as a part of a whole or a part of a journey. Only then can something like an action or interaction be assessed or measured in context. Empathy-wise, experiencing what someone else has gone through before a particular action or interaction would certainly help us understand why the situation played out the way it did. So yes, it could certainly help us understand our different actions as humans. As far as disadvantages go, I think one potential issue could be to expect everyone to always act rationally or logically in whatever situation one is facing. I do not think this is possible or even something one might want. That would remove the human out of human interaction. Another potential danger could be to constantly feel the need to experience the world through someone or something else’s eyes or mind. Your own experiences or perspective might never be enough and like a drug you develop a need to become something or someone else - abandoning your “self ”.

The human mind can be a powerful tool, but it is also fragile and vulnerable. Lead on to believe deceptive causes, a person could not only become a participant of a plan that might not be in their best interest or welfare, but could also go onto the shape an agenda that other people could prescribe to and so on. What are your thoughts on this subject of Mass manipulation? Mass manipulation can be a very dangerous thing. It is not a new subject in any way, but something that is really important to acknowledge in the information age. We are constantly bombarded with data, news and information of varying levels of truth or even outright lies. In some cases it may seem harmless, an askew thought or theory not at all important or impactful to everyday life and in other cases something that affects everyone around us in a potentially harmful way. As the amount of information and data we are exposed to and process in our day to day life is only increasing this is certainly something we have to be aware of.

64 The Escape Velocity Overall, what is the most important thing we should note while listening to this album Silent Dreamers? The album describes a future world where it is possible to live out your life in a dream-like reality. A reality written, cast, directed, viewed and enjoyed exclusively by the “dreamer”. Lean back, relax and start your transition. A new world awaits you dreamer.

How do you envision the World in 20 years? 2041? What about Music? I imagine a world where we are well underway of solving the most pressing issues facing the future of mankind - through science and technology. 20 years may not sound like a long time, but it should certainly be enough to make the changes needed for a sustainable socio- logical, ecological and economical future. When it comes to music I think our way of experiencing music will change in a way that we will have the possibility to be more immersed in the music. One example could be the possibility to directly connect to the music or the artist through some kind of implant, potentially stimulating all of the senses of the listener. There is a lot of potential to explore here. Another example could be the incorporation of visual aspects directly into the musical experience for example via streaming directing to an implant or an interface which the listener is connected to. This could be a way to get closer to the experience and the musician. A gateway into the musician’s mind.

Being someone who creates for other people, what do you see in people that is worth creating for? Art can definitely be considered a form of communication. The artist has the possibility to invoke certain feelings, emotions and ideas in its observers or listeners. Sometimes the theme or the message is understood and clear, and sometimes misinterpreted by some. I think that is part of the beauty of it. Much like in real life communication is not always a straightforward thing. But it does not matter. The most important thing is that the line of communication between the artist and the observer or listener has been opened. Music is no different. Being able to reach people through my music, whoever or wherever they may be, is an exciting thought. I am grateful and happy to open up that line of communication to whoever wants to listen and be a part of it.

65 The Escape Velocity This storyline is about the last number of humans on this planet. They know about the entire history of mankind, it is the year 7934 when the end of mankind is in sight. The “survivors” tell each other the wildest stories, what humanity has achieved, personal stories and how to prevent human extinction. The latter predominates in the conversations. Due to the destruction of nature by man, we have encountered ourselves, we can not longer go back, nature has been damaged so much that there is no longer any way to save it. The music tells several events what the “survivors told eachother on the last days on Planet Earth as mankind. Will they find a way out to save humanity? Humanity was once so strong, but now greatly reduced in numbers, it is not as it used to be, we have to fight to survive. Tales From The Extraordinary, Year: 7934 DJ Surgeles Tales from the Extraordinary out now

66 The Escape Velocity In the last chapter we thought about cosmogonic music created by humans to exploit what in their believe the cosmos could sound like and the source of non-ending repetitive music. Lets look further and start a series of questions about music thru time and space, history and further physical boundaries. This time the Question could be if music that has been not created by humans on planet earth could be understood and transmitted thru our yet known wavelength or frequency? Would we be able to understand or even hear ex-terrestial music? As we know, here music is transmitted by air molecules and our hearing abilities are limited to a range of 20 hertz - 20 Kilohertz approximately. Would Bee- thovens 9th symphony or Gustaf Mahlers 8th sound similar if the transmitting molecules or matter different hearing and sense range already in the animal kingdom on our own planet. Compared to otherare physically species, theentirely physical different limits ? ofMaybe the human we don’t species even arehave very to look limited that and far yetas we we can think find that an no entirely other living being has a comparable musical understanding and inspiring creativity. For our limited perception, musical communication of life forms that mainly communicate via audio is to be understood more easily than of species that exchange information and maybe also musical content via chemical substances like ants. the information we communicate in one minute is transmitted by a bird within seconds. Due to their rapid heartbeat, some birds live in a faster timeframe. A smaller Body and high heartbeat frequency result in a shorter life span and high speed communication. Only by slowing down many times does it become clear how complex the audio material is wave spectrum or are not transmitted via air molecules. Anyone who has ever tried to sing under- waterwhich knowsis inaccessible this problem, to us. Thehow slow difficult motion it may of some be to soundsunderstand shows audio similarity signals to that the liedifferent outside score our system that has been invented by Chinese years ago. There is a discipline that studies this kind of things. It is Zoomusicology !!

Zoomusicology by Frank Muller

67 The Escape Velocity 68 The Escape Velocity 69 The Escape Velocity 70 The Escape Velocity 71 The Escape Velocity 72 The Escape Velocity 73 The Escape Velocity Waveform Transmission : South Africa When Techno Music is mentioned or described in terms of hegemony and dominance, it’s become easy to imagine the places where the genre first started, where it laid its foundation and/or the group of people that spearheaded and pushed the sound onto others. There are an abundance of infamous stories detailing key turning points that anyone could backtrack and would eventually leads us back to the doorsteps of the studios of Juan Atkins and Kraftwerk’s Kling Klang Studio. Most pre-internet activity still remain as Dance Music folklore. Innocently embedded in the early artist interviews of now defunked fanzines of the late 1980 and early 1990s , it was in those first encounters and interviews the first answers were given about who we were, why we choose Techno and we are plans were for the future. To know things sometimes require asking a questions. This Issue we focus on the vibrant Techno scène of South Africa. With the gracious assistance of Samantha Emmenes, she plugs us into the main players that set the pulse and oversees the movements: Fabio Di Cosmo / Graeme Hector / Ivan Turanjanin / Bruno Morphet / Ryan Vermaak It’s an informative and enlightening read. Enjoy.

interviewed by Jeff Mills

74 The Escape Velocity It can never be overstated how important Africa is to our after migrations from further up the continent eventually existence. And South Africa, the Zulu Nation is where the came to settle in what is now KwaZulu Natal. To your ques- very first tribe of people existed about 4.4 billion years ago tion: South Africans for the most part are locked in the real- marks the birthplace of humans, do South Africans carry ities of daily existence and there is not a pervasive identity this sense of awareness – can one see this in your heritage. based on an ancient shared heritage. One must also consider If so, in which ways? the damage done by successive colonial governments, culminating in the apartheid regime, in dividing the people of FABIO: As the son of immigrant parents and raised on the South Africa along tribal, colour and class categories. Such white side of a segregated Apartheid South Africa, I would generational wounds are difficult to unlearn, and an under- be reluctant to comment on how much of this ancient exis- lying consciousness that unites people is still a long way off. tence is in the awareness of modern South Africans and in what way. Western civilization and in turn white South Afri- All the way in Detroit in the 1970s, I remember being in ca have, for the most part, overlooked African heritage and grade school and every week during gymnastics class, we culture in favor of a Eurocentric view of civilization. This is would end the lesson with a circular run around the gym- of course hugely problematic and does undermine the very nasium listening to Miriam Makeba’s “Pata Pata”. As chil- history and importance of the continent to humanity. dren, we were too young to know the meaning and signifi- cance of what we were jogging to, but it goes to show how IVAN: South Africa and its people definitely carry an amaz- the influence of what was happening on the other side of ing sense of pride. We have 11 official languages and to this the World had a cultural effect. How does race relations day there certainly is a great sense and respect for culture play a role in Dance Music scene in a post - Apartheid and tradition. South Africa? Intergenerational story telling remains one of the most important ways of learning and passing on knowledge. Tradi- FABIO: Apartheid may have ended a long time ago but South tional healers and natural medicines are highly respected Africa remains a deeply divided nation and the majority of throughout the many cultures and as such, the people here challenges that South Africa faced after our first democratic are just generally more connected to the earth. elections remain in place and are more pressing than ever. This certainly manifests itself within the creative industries Music and dancing however are one of South Africa’s best as artists continue to explore their roots for inspiration and loved pass times and a release from the struggles of an unfair often bring it to the front of their work. I often hear artists and tough existence. The bars, taverns, clubs and venues are, referring to “the ancestors” when talking about influences or like most residential areas of the cities and towns in SA are guidance in their creative process. still divided along racial lines. There are thankfully pockets of integration in the vast urban areas of Johannesburg, in BRUNO: Indeed, Africa is one of the places where the ear- dance music they are often they are aligned with a clear mu- liest civilizations began, but humans have only been on the sic policy and integration tends to happen effortlessly when planet for approximately 200,000 years. Having said that, the vision is well delivered. It is hard to say if these places/ one of the earliest hominid species, and a direct descendant events are frequented by people who are more open to mul- of humans, Australopithecus, has been traced to sites in South tiracial engagement or if these places actually bring about Africa, having existed up to 4.2 million years ago. As far as multiracial engagement, perhaps a bit of both applicable. the Zulu nation goes, the earliest clans were only established in the early 1700s,

75 The Escape Velocity IVAN: The role of music is such an important one here in GRAEME: I was a partner at House Afrika Records and we South Africa, both during and post-Apartheid and certainly supplied dance music to DJs across South Africa. Music was was, and is, a powerful contributor to race relations. Freedom a universal language that resonated and literally moved na- songs or what you would call protests songs were a powerful tions. This music was predominantly House music and it force in uniting the people during the struggle. Not only did was interpreted in a very different way. Internationally ev- it help unify the messaging of what the leaders were fighting erything was pitched up, especially in the techno scene, here for, but it could also help change and reflect the political cli- tracks were played pitched right down to -6 -8 and even in mate. It was also cleverly deployed as tactics in scaring the some cases, 45s were played at 33rpm at +8. The pace here armed forces. The songs were done in very complex harmo- was much slower and groove-based, South Africa, in partic- nies which often amplified the size and power of the sound ular, moved to its own beat. which would create a much larger presence during the pro- At the core of this music was a network of Shebeen’s (houses tests. Music would continue take on a significant role within converted into taverns) in the townships where there was no the changing landscape as apartheid came to an end. Cultural DJ just 1 turntable. Tracks were played from start to finish, boycotts had literally cut us off from the world. Emerging sometimes the vocal and the instrumental mix were played from that isolation and tension was a new wave of Electronic back-to-back and never mixed out or over. Every part of the Music and in particular House and Techno and the accompa- track was absorbed from start to finish. nying rave scene. The other main source of this movement was compilation tapes that were made and distributed by the DJs/independent As records from the US and Europe started to flow into producers from the boots of their cars to the taxis and local South Africa, and the liberation began there was what was stores. People commuted for hours from the townships to described as a beautiful anarchy. the cities spreading house music far and wide to the point it Music was a very powerful factor in unifying the people and became so massive that it even dominated the airwaves. it still continues to transcend race issues which still exist here today. Some of these song messages resonated to our very core and could not be filtered out by the government or anyone, play- BRUNO: Race relations are a huge point of contention in the ing songs that were singing about South Africa, to the people country as a whole, so it is natural that such divisions seep of South Africa is something hard to put into words. Some- into dance music culture. Post-Apartheid South Africa has times seeing over 10,000 people feeling, living and breathing been slow to address these divisions in any meaningful way songs like J Williams - Sweat or Tribal House - Motherland and while there is no legislated separation of black and white, is still deeply etched in my mind. there is still very a geographical and economic separation of It still amazes me how those songs were made so far away the races, so parallel scenes arise as a result in townships and and traveled across continents and how big an impact they in metropoles. Of course, there are zones where these par- had on so many. allel lines eventually merge, but these are generally the ex- ception. There is a greater emphasis on diversifying lineups For most Techno Music scenes around the World, the ur- now, both along gender and racial lines, although that is only ban landscape; a place where there is a wider cross of ideas the first step toward parity. Getting beyond the cosmetic and and lifestyles are often the points where Techno is most toward a genuinely healthy, diverse scene is the next. intense. Is this the same in South Africa?

76 The Escape Velocity FABIO: I would definitely agree with this, Cape Town and Johannesburg, SA’s two biggest urban areas, are leading the way with techno, there is a real sense of excitement for the future of the genre based on what’s happening in these two cities. Techno is still quite niche and underground in South Africa, large urban areas have the population size to give the genre a tipping point and allow venues and events a level of sustainability that exceeds the smaller cities and towns around the country.

RYAN: From a Johannesburg perspective, I would have to say yes. From the early days of the Raves in the 90’s and now to the location of the AND CLUB // TOYTOY, deep inner-city Johannesburg, where raves once took place during that time. We have always been drawn to urban city landscapes. We have found over the years that this creates a very diverse audience of all walks of life, cultures and mind sets. The cities are raw, fearless and uncompromising, this suited where we felt this music is best communicated.

IVAN: South African in general is a very picturesque and beautiful, it’s why we are often referred to as the House nation. Beautiful deep soulful house music was the soundtrack to the liberation, and it suited the landscape which to be fair is already quite a wide cross of ideas and lifestyles by design. What’s has been interesting to see the Techno scene grow and begin to slowly take a place within the narrative. It has been taken on by a slightly younger generation - The born frees (those born after the end of apartheid around 1994) and has accompanied an underlying angst amongst the youth who are wise to the fact that the “rainbow nation” that was promised is not quite what it should or could have been. It has also been a retaliation to the many years of slow and very deep soulful House. This is best personified by Gqom music which emerged from the townships of Durban in the early 2010’s. Very much a local manifestation of Techno here in South Af- rica, it is a lot more aggressive, much more metallic sounding and much faster in the BPM. It was and is quite literally the voice of a disenfranchised youth who began to realize how they had been shortchanged by a lot of broken promises.

77 The Escape Velocity GRAEME: For me, the techno scene has been far more niche and harder to spread, South Africa is very open and vast, for most people escaping was to get out into nature and break away from the cities. Compared to overseas I’ve always felt art and culture was sometimes the only way to escape the intensity of city life. It never quite seemed as urgent or important here, hence it was harder to build on. South African cultures were very far removed from Techno in so many ways, in fact it felt like quite the opposite, we are more a nation built from many tribes and traditions.

From the very beginning and the works of Detroit’s Cy- botron and Juan Atkins, Techno Music often has had a direct link to the Space and The Cosmos. Is there this connection there as well? If not, then what is the Music connected to?

FABIO: I feel like the essence of techno in South Africa is far more about breaking out and escaping, Apartheid South Africa was a very conservative and restrictive society and it is no coincidence that at around the time of our first democratic elections was at the same time SA rave culture took off. Personally, the raves felt like a place where you could express yourself, opening your mind to an exciting future where you could connect with others in meaningful ways.

RYAN: There is some connection, but I wouldn’t say a strong one. AND CLUB has had properties that reference the Cos- mos and Space. Nights called “Inner City, Outer Space”. But that is not directly linked to the Cosmos, but more highlight- ing that there is a place in the city that is out of this world.

IVAN: I feel in South Africa the substance in the music speaks to the idea of culture and tradition but with a strong focus on the future, i think it embodies the ideas of Afrofuturism. It is a very literal connection from the drums and rhythms of the past, but contemporized through the technology of modern drum machines, effects and dj equipment. There is also an essence around the physicality and motion of the music. The cerebral experience comes second to the music ability to physically move the people.

78 The Escape Velocity This is what gives African music its substance. It’s quite lit- well known to young South Africans who are into techno. erally body and mind. They can access their recordings, marketing, streams and music very easily. GRAEME: Yes, indeed the early warehouse rave scene was In terms of a uniquely South African sound within techno, steeped in space and exploring the outer realms and escap- I really don’t think you can apply one instance or influence ing day-to-day realities and life’s hardships. May flyers and that carries across the diversity of the genre within South decor alongside the music reflected this. Africa, but that is also something positive, it’s up to the in- We were constantly seeking and imagining what the scenes dividual artist as to how the express their influences when were like internationally and somehow translating that in our performing or producing. own ways. Music was also about transformation and letting go of old IVAN: It’s important to note how House music in general ways, especially coming from a divided nation. had a massive influence on the dance music of South Africa. Techno music attracted a predominantly white following and But it also super interesting to note how it was taken slowed house music predominantly black. down and completely dismantled by the first generation of One event we did called Transform we tried to bring these local electronic artists. two musical tribes together, the plan was to set up two dance- There certainly are elements of Mbumbe and Highlife but floors and have Credo Mutwa, a Sangoma (traditional healer) often in much less pronounced ways. This comes back to the and author of African mythology, traditional Zulu folklore, really complex understanding of harmonies and in particular extraterrestrial encounters to do a peace ceremony bringing the use of deep voicing - this is apparent in the long-syn- the two tribes together. copated bass lines which first originated within the early The venue was taken away from us and we had to move into Kwaito and Mid Tempo music of the mid-nineties.. one space so it never worked out as planned, it was a bit opti- mistic for its time, and the journey to this day is still playing Fast track to now and there is an abundance of influences, out and different cultures are exposed to more scenes. such as the repetitive use of chants and short phrasing which It’s an exciting new time, albeit it niche and underground, is quite prominent in Afro-house, Gqom and Amapiano or it’s there for those that seek it out. the sophisticated drum programming and sampling, giving that distinctive African flavor with those extra snares and Typically, Techno scenes around the World adopt a par- additional live percussive elements. South African music is ticular style and character based off of other European or quite literally a melting pot of ideas, and the ingredients are American cities, like Detroit or Berlin for instance. Can plentiful. this be attributed to the scenes there or did your scene create a completely different way of thinking and sounding? BRUNO: South African techno still draws its influence pri- For instance, can we find signs and influence of mbube or marily from European and American techno but increasing- highlife in South African dance music? ly there is experimentation and crossover with local forms such as gqom and spoken word vernacular. Although mostly FABIO: Personally, I have always connected with the sound based in Sweden now, Off the Meds is a good example of from Detroit, it has a sense of futuristic music but at the this. same time recognized and even went so far as to incorporate the past, like disco. I think many of the young generation How do the Johannesburg and Cape Town scenes vary? who are into techno resonate with the European scene, the Are there any other cities in South Africa that have men- clubs, parties, events and DJ’s performing at them are all tionable scenes?

79 The Escape Velocity FABIO: The two cities themselves couldn’t be more differ- IVAN: There certainly is nuancing within each city which ent, Cape Town is known for its beautiful beaches, mountains keeps things really interesting, but certainly over the years and forests and Johannesburg is more aligned with an eco- we have always worked quite closely with each other and nomic hub. Cape Town is far more cosmopolitan and trends this has fundamentally helped build the scene. It’s obviously seem to start and develop very quickly there. Johannesburg a fairly long flight to reach South Africa so promoters work feels more stable and consistent, not following trends as eas- together to be able to offer artists two shows. This is great ily. for the artists as it’s almost like being in different countries. Durban has some excellent techno DJ talent but unfortunate- Cape Town is scenic with and a mountain and an ocean and ly the parties have never really taken off and techno is often the scene reflects that, whilst Johannesburg is a lot more in- relegated to a small second floor at a more commercial event. tense with all the big industry there so the music is harder and presented in a more industrial way. RYAN: In Johannesburg the scenes seem to remain more If artists have the time and are really lucky, they get to see constant, than that of Cape Town. Generations have come Durban as well. The north and south coasts of natal are some through the doors of TOYTOY and AND CLUB over the of the most beautiful parts of the county and the scene is su- last decade. From brothers and sisters of the audience and per cool that side Beyond the major hubs I am finding some their younger siblings. They are into techno and that re- really incredible music in fairly obscure places and have mains. With CT being a cosmopolitan city, we find that the been fortunate enough to play some really interesting little scene the ebbs and flows with higher troughs and peaks with spots all around the country. trends, than that of Johannesburg. In addition to this, the outdoor party scene is much more prevalent in Cape Town, and Who are the people that make up the scenes in these cities? this is largely due to their summer months which is their dry What type of lifestyles? Students, club kids, office workers, season and weather is amazing for 4 months of the year. In weekend ravers? Where do they come from? Johannesburg the outdoor party scene is susceptible to out of nowhere extreme thunder storms, being the rainy season. We FABIO: Speaking for Johannesburg and TOYTOY in par- have fallen victim to being rained out many times. ticular, we believe in nurturing the young generation so the majority tend to be between 20 and 25 years old. We know

80 The Escape Velocity of young people driving long distances from other cities and FABIO: Yes, absolutely, this is across all music genres in towns to come to the events. They are students and young the country, from Jazz to Techno, dancing and singing is in professionals and creatives who are passionate about the ide- our DNA in South Africa and as much as it can be an escape als and music the space cultivates, they invest themselves in from the daily struggle which brings release it also brings the culture and believe in its influence for better. great joy to the people. It is also worth mentioning the importance of song and dance in South African protest action. RYAN: We have asked ourselves this question a lot over the Protest songs and dances were extremely important parts of years. We have a range of all of the above attending all the the struggle against Apartheid and helped galvanize commu- different events hosted. Mostly Student and Club kids. With nities into confronting an oppressive regime. Weekend Ravers attending all events over a weekend. They come from all 4 corners of Johannesburg, and a large fol- RYAN: Yes, very much so. The dancefloor becomes a sin- lowing who come from Pretoria. There is a crew that travel gle organism, moving together, experiencing the same thing. 7 hours from the North of South Africa each week to attend This is a beautiful moment to witness, and here in South TOYTOY on a Friday night (pre-covid). For the office work- Africa, amongst the whistles and shouts, one phrase the kids er they attend as a means of escape and energy release, it has shout is “Yusssis”. Which is an expression of amazement. been communicated to me from one individual that TOY- TOY is his hobby, his other mates play sports, he comes and BRUNO: People definitely get looser here the longer the closes his eyes on the dancefloor for 6 hours and releases all party goes on, but there is of course the ever-present truth of his tension form the week before. legislated operating hours of clubs, and so dancefloors split up at a certain hour between those who leave to come home BRUNO: The SA club scene is definitely biased toward or the after hour, and those who stay to enjoy the final hour. younger audiences. I have mentioned this before in another Obviously with the current curfews this is even more acute. interview but there is a prevailing attitude amongst the aspi- rant middle class that nightclubs are rather unseemly if you GRAEME: I was fortunate enough to be a part of the first are over 30, and thus dancefloors tend to be dominated by outdoor festival in a desert in SA put on by some visionary people below that age, mostly students and young profes- friends that were crazy and brave enough to do it. The space sionals. The festival market however has much more allow- was Verneukpan (Verneuk is Afrikaans for to trick, mislead, ance for niche and there is a growing preponderance of older screw or swindle) - The surface is completely flat, and is ap- audiences who enjoy the balance of being able to dance and proximately 57 km/35 mi long and 11 km/7 mi wide. also relax outdoors as opposed to being committed to a floor In 1929 the pan was used by Sir Malcolm Campbell, who un- for 6 hours. successfully attempted to break the land speed record in the Blue Bird. Years later we were there, we managed to book Growing up in Detroit in the 1970/1980s, I remember when Christian Vogel, Neil Landstrum and Nick Spice to head- a party reached a certain level of intensity, it became more line. I played 4-hour back-to-back sunrise and sunset with tribal and a bit closer to nature. To the point that people DJ partner Nicky Life. We had a didgeridoo player do our would start mimicking the sounds of wild and exotic bird intro while playing sounds of nature and overlaying a Mon- calls. Yes, it’s a bit strange, but I think it reflected the fact ey Mark sample of crickets and how you could tell the tem- that through Music, people felt more open and this sense perature by timing their chirps with was perfect setting after of freedom instinctively brought out senses that are often a day in the scorching heat. thought of as a form of paradise. Is it the same there?

81 The Escape Velocity That morning when dawn broke, we played The Beloved, stealing air time with constant pronouncements of imminent Sun Rising and a group of people started to walk towards the meltdown. It has been this way for years. So, for South Af- sun and didn’t stop for Miles. ricans the future is not utopian, it is dystopian, and there is Moments like that are always special and I always try to con- no impetus to make techno with a futurist slant for audiences textualize the space and environments we are in. Another that are barely coping with the issues of the present. time I brought Matthew Herbert and we traveled around together for 2 weeks, he was always recording, at one point I think the common link between all Techno Scenes around he was wandering around Table mountain and said that bird the World is its transformative qualities. Ones what use such was singing in C minor, I’m hoping it made it on to one of methods such as minimalism and hypnotics, escapism and his albums. otherworldly references to pull the listeners into another realm. Like recognizing an alternative Universe, this Mu- Is South Africa Techno Music and the scenes related to fu- sic can have a way of making people feel more deeply and turism? If not, why? more connected to something greater than ourselves. And so, like with any other mental bridge, how do you imagine FABIO: No, I don’t believe that to be the case in South Afri- South African Techno Music in the future - Do you feel the ca. Techno peaked in the mid 90’s but then also disappeared sense that Techno Music is creating something useful for for a while and now it seems to be in a very healthy place the future? again. I think in both occasions the people consuming the music were hungry for a release, an outlet to be in the mo- FABIO: The recent years have confirmed that techno and ment, with others but without the barriers that tend to exist the spaces, people and promoters that cultivate this music in the South African landscape. These barriers are often a are doing so for reasons beyond merely economic, there is lack of community for many of the white population which a genuine passion for techno and all that comes with it. I can feel isolated and cut off from your community in their believe that these dancefloors allow us to experience a tol- suburban lives. erant, cohesive and functional society and I would hope that those experiences for the majority of people who have them, RYAN: Yes, for some the relation to futurism is in their art- it changes the way the see and interact with others in their works and design. We draw some influence from futurism, in daily lives. the design ethos we use and the design of the space. A very industrial, raw space that lends itself to be open for interpre- RYAN: I imagine in the future that there will be more spaces tation, and blank canvas for one to freely express themselves. and nights focused on being a transformative experience. Al- though Techno Music has been here for some time already, I BRUNO: I would not say that it is. There is a futurist dis- still feel the transformative experience, and the feeling con- course in many other aspects of art here, from the visual arts nected to something great than ourselves as you mentioned, to writing, but techno as an artform is still too derivative of is still in its infancy. It’s something that cannot be explained, European and American styles to have futurism at the base of only experienced. This is happening slowly with certain au- its creative catalyst. South Africa has too much of an apoc- diences, and the music is what is communicating this. It is alyptic zeitgeist and we have been taught from an early age definitely creating a movement and a strong community, to fear the future. We have a news media that has gotten rich where the music is at the forefront of the communication. off reinforcing the worst predictions of economic and social collapse, and we have politicians on either side of the center

82 The Escape Velocity IVAN: I think the evolution of South African music over the last few decades has been profound. Technology is making it easier for even more young artists to have access to electronic music. More and more artists are beginning to understand and embrace the power of Techno, and compounded by the ideals and philosophies of Afrofuturism we are poised in real time to watch the next generation quite literally soundtrack Africa rightful place, front and center of the world stage

GRAEME: Techno music first and foremost for me precedes color, race, or social status, it’s boundlessness, an unwritten universal language that leaves a lot of interpretation of the listener. I have always believed in taking people on a journey playing with emotion and energy and other nuances, especially with instrumental music and soundscapes that allow people to go deeper and process things that come up. Each person maybe going through individual things but yet still feed off each other and there is this unspoken sense of unity and belonging. Dancing has always been tribal for me and it steeped deep within our culture no matter where you come from or where you going - Music inspires all and the future can only benefit.

In your opinion, which South African DJ or producer should the World notice more? And why?

FABIO: There is without a doubt some serious young talent emerging in South Africa, Deano from Cape Town is leading the way with his label, releases and his impactful sets. The Black Lake, a TOYTOY resident is musically wise beyond his years, epitomizes the soulfulness of Detroit techno in what feels like a really natural and authentic way.

RYAN: Black Lake (Tadeu Andre) – He is a fantastic DJ, and his productions are getting better and better each time I hear his work.

83 The Escape Velocity BRUNO: I find Deano has been doing solid work bringing our production standards up to scratch and achieving international renown, Rose Bonica is doing interesting work in a middle ground between techno and glitch-driven electroni- ca, Black Lake is making some compelling soundscapes and Structure is an unsung legend of the local electro scene.

GRAEME: There are too many, I don’t want to be that person that says look at this or hear that, also if I say this is the person, what about the others I know and love. I can tell you the first South African techno record -I per sonally was influenced by was Hugh Masekela’s - Don’t Go Loose It Baby (Dub Mix) - This was a crazy edit that was taken of his album “Techno Bush” from 1984 and re-edited in 95 in Botswana & London, but this is just a part of my journey, I always encourage DJs to find their own. There are artists here with their own labels releasing internationally, there are artists that were originally from here that have moved overseas, one even went on to open one of the most influential clubs in Europe. There are international artists that moved to SA and have now returned home. I know international artists that have visited and never left, 1, in particular, has had a release with one of Mad Mike off shoots and now lives and produces here. I have friends that are making incredible music, some of it is released, some will never see the light of day, some play live and some just DJ. There are kids making stuff in their basements or bedrooms desperately trying to be heard some may find their way into the system some won’t. It’s up to us to find these moments in sound and continue the transmission. And why?

Music has always been an extremely personal journey for me, the thrill is in the chase and the discovery, it is all part of the process, the journey… seek and you will find, then once you have found you can interpret in your own way and remold it and share it in a way that works for you, creating new contexts. Music is infinite and has no boundaries, and as a truly universal language… the waveform transmissions are out there, all you have to do is tune in. 84 The Escape Velocity If there is anything you would like to add that isn’t pro- For me growing up as a kid I only had my imagination of voked by any of these questions, please feel free to add this what techno was or could be there was no scene here in SA. info. We got together with some like-minded people and started pioneering the first warehouse raves, for the first time this GRAEME: This is a bit of a back story of how things started new language of music and expression came through, it was for some extra context. a time when politics or crime disappeared and we all came Some of this relates to some of your questions but writing it together and escaped. in one piece made more sense as I remembered it – you wel- The scene was raw and full of new energy, the music seemed come to pull bits from here where (or if) needed. to come from another time and place, and it was incredible to be a part of that. I was in boarding school and I was in charge of the reading We had incredible locations one of my favorites was Beyond room (it was a rec room where we could chill read books or Techno, which we did in the old abandoned Johannesburg listen to music) I was allowed to buy the HiFi system and Fort, where Mandela was held in solitary confinement. bought this badass AIWA Hi-Fi with double tape deck and Here we were years later being so free in a place that was so turntable. There was a network of kids that had all the best steeped in our past history and suffering. music and we used to swap tapes. I remember spending days with our designer making the fly- I’ll never forget getting hold of some of your Wizard mixes er, we wanted to represent the vastness of space and the mi- on WJLB, my life was changed forever, I was mesmerized by croscopic cellular world and how they were all one. the trickery, the mixing and how seamlessly so many sounds The warehouse parties were always raw, we found old aban- can be textured. doned buildings and turned them into the most epic venues, It was so exciting hearing Prince next to Yello and techno and rejuvenating spaces like the old Turbine Hall, Park Station or everything in-between. Every day I would rush home from a dilapidated Ice Rink. school and play music on that system, it was the soundtrack Johannesburg city was a ghost town and finding interesting to my life. I started to play in nightclubs at the back end of spaces made it so special. After the raves started to become the Hi-Energy and New Beat scenes. House and Hip-House mainstream, I managed to get a residency at a club called was the new thing on one side, and new wave and the alter- 4th World (it was a visionary club fusing 3rd world and first native was on the other. I drew all my influences from there world cultures). Those days I packed 7 crates of records and until later I got a mixtape of Derrick May and I heard music played from 10 pm to 10 am every Saturday and had guest being played in a way I had never heard of before. DJs help give me a break in between. The music was so layered and textured and felt like it came We wanted to move back into the city and away from the from another world, I knew this was something I was going hype, this was our Music Box, it was a family of friends and to do and share. people who did not conform to the norm and believed in I started obsessing and fantasizing about this music and something different. When it closed, I was a bit despondent where it came from and what it meant. I started to look up and the scene died down a bit, it lost its edge. words I dint know what they meant in the dictionary (sometimes just realizing the words were made up and only the Years later connected with my now DJ partners Ryan Ver- artist may know what it means to them). maak (Dogstarr) & Fabio Di Cosmo, we fell in love with an I also noticed the secret messages inscribed on the records outdoor space called Rustlers Valley. and that there was a network of people coming together and spreading messages across the planet.

85 The Escape Velocity It was a free space about 3.5 hours outside of Johannesburg and was a live music festival, I was the first DJ to play there- after all the bands on a Sunday night. Eventually, it became an electronic music festival and we got to host Darshan (Metro Area) and one of my personal Highlight Brendan M. Gillen (Ectomorph) where we got to express a very different side of our music. When the owner passed, we were left with a huge gaping hole in our creative outlet and a place to share what we were doing musically. We wanted to tap into the energy of the open space Rus- tlers gave us but bring it back into the city. & Club was born and we started a very personal night called TOYTOY with a close group of like-minded friends. First a small space in Rosebank, then we felt we needed to go more underground and we moved into a basement bellow a theatre in Braamfontein and then finally, we moved into our current home in downtown Newtown. We wanted to get far away from sheltered suburbia and move back into spaces where it all began with some of the early warehouse parties were. The inner city is a big part of who we are and what we do, we have been going for 9 years now and have hosted some of our favorite techno artists who have been willing to venture out down south and share our musical vision. Many of them left saying it’s one of the coolest clubs they have played at, the space is small, intimate and the energy is still raw and somewhat innocent and devoid of any click or pretentiousness. It is our home and little bubble where you can dream and the future is whatever you make it to be.

86 The Escape Velocity THE PARADOX Jazz Keyboardist Jean-Phi Dary and Techno producer/artist Jeff Mills merge worlds together to create a band project that pushes the boundaries off into new uncharted music terri- tory. On the radar, Counteractive.

Photo courtesy of Montreux Jazz Festival

Available at www.axisrecords.com 87 The Escape Velocity COLLATERAL INFLUENCE - NASA

Our Planet Earth is dotted with locations that are more significant than others because of what they industrially produce and how they influence people, their surrounding and nearby communities that they co-exist in. Like in the indus- trious collateral interference we see in Detroit, the crescendo of activities from the Worlds largest Automobile companies played significant roles in shap- ing the minds and pockets of those who made public policy, education, culture and so many other unseen factors that gave Detroit residents their vision and that even extended to how one could create and revolutionize record labels. We wanted to investigate this process firsthand, so we took a road trip into Space Coast and Cape Canaveral Florida, the home of NASA and the surrounding areas to see how the Space industry is making its psychological and cultural marks.

88 The Escape Velocity 89 The Escape Velocity 90 The Escape Velocity 91 The Escape Velocity La Quinta Inn by Wyndham Cocoa Beach - Port Canaveral formally owned by 7 astronauts

92 The Escape Velocity 93 The Escape Velocity For millions of years, everything related to the universe and the Solar System, the Sun, the planets, moons or the stars, has awakened us enormous interest. Within the Solar System there is a planet that has always attracted out attention, much more than others and aroused great interest, both for its pale yellowish color, its number of moons or the thousands of Rings that make it up. Ocktawian - Into A Strange Surface and Core

The Album Concept sound is created and based on the desire that humans have to travel to Saturn, but this time, we are going to travel it from another perspective, entering from its atmosphere composed mainly of Hydrogen and Helium, in addition to sulfur, methane, ethane, ammonia, among others, until it reaches its solid rocky core.

94 The Escape Velocity And I wonder; What Sound can have its dense and heavy atmosphere? What would our adventure into the interior of a planet be like without a solid surface?

How many musical passages will we find in the different layers of the planet until we reach its rocky core? Would we be able to survive itscoming high temperatures, on May 7 2021convection cycles, the high speed of its gaseous winds or its Helium Rains?

With this musical concept and its different sound passages, I hope you can hear and experience the same as I felt when I was there.

95 The Escape Velocity Current Releases

ASD001 DJ Surgeles - Cosmic Distance Markers ASD002 Mike Storm - Absorbing Other Stars ASD003 Tadeo - Faces & Mirrors ASD004 Tadeo - Curiosity. A Human Condition ASD005 Terrence Dixon - Galactic Halo ASD006 30drop - Soroban ASD007 Mike Storm - Human Visitors ASD008 Johannes Volk - The Lost Capsule ASD009 Lagware - Project “Red Sandstone” ASD010 Jonas Kopp - Pleiadian Key Tones ASD011 DJ Surgeles - Moonlight Serenade ASD012 Rod 20 - The Hidden Notes Project ASD013 DVS 1 - Beta Sensory Motor Rhythm ASD014 Mike Storm - Apophis 2068 ASD015 Echelon - The Five Eyes ASD016 Dimi Angélis - Abstract Universe: The Past, Present & Future ASD017 Deetron - Rotational Gravity ASD018 DJ Surgeles - Triglav ASD019 Orlando Voorn - Star Travel ASD020 ORBE - Beyond Our Ability

96 The Escape Velocity ASD021 Optic Nerve - Uncharted ASD022 Ribé - Order In Chaos ASD023 Hieroglyphic Being - Dance Of The Living Image ASD024 Ma Haiping - Chang’e-4 ASD025 Johannes Volk - A New Biosphere ASD026 Shinedoe - The Observer ASD027 Mike Storm + DJ Surgeles - Some Thing Some Where ASD028 Jonas Kopp + Jeroen Search - Holographic Universe ASD029 Mike Storm - Indigenous Lifeforms ASD030 Modularz Compilation - The 6 Planet Discovery Mission ASD031 Ocktawian - Into A Strange Surface & Core ASD032 Pushmann - Gamma Ray Phase, The Trip ASD033 Ecilo - Uncovert ASD034 Giri - Antichthon ASD035 30drop - Photosynthetic Zone Manifesto ASD036 DJ Surgeles - Tales From The Extraordinary ASD037 Nørbak - Flor Do Fatalismo ASD038 Staffan Linzatti - The Silent Dreamers Upcoming Release ASD039 Casual Treatment - The Appearance Of Life

97 The Escape Velocity *please click the image for details

ASD001 DJ Surgeles Cosmic Distance Marker

98 The Escape Velocity ASD002 Mike Storm Absorbing Other Stars

99 The Escape Velocity ASD003 Tadeo Faces & Mirrors

100 The Escape Velocity ASD004 Tadeo Curiosity. A Human Condition

101 The Escape Velocity ASD005 Terrence Dixon Galactic Halo

102 The Escape Velocity ASD006 30drop Soroban

103 The Escape Velocity ASD007 Mike Storm Human Visitors

104 The Escape Velocity ASD008 Johannes Volk The Last Capsule

105 The Escape Velocity ASD009 Lagware Project ‘Red Sandstone’

106 The Escape Velocity ASD010 Jonas Kopp Pleiadian Key Tones

107 The Escape Velocity ASD011 DJ Surgeles Moonlight Serenade

108 The Escape Velocity ASD012 Rod 20 The Hidden Notes Project

109 The Escape Velocity ASD013 DVS1 Beta Sensory Motor Rhythm

110 The Escape Velocity ASD014 Mike Storm Apophis 2068

111 The Escape Velocity ASD015 Echelon The Five Eyes

112 The Escape Velocity ASD016 Dimi Angélis Abstract Universe - The Past, Present & Future

113 The Escape Velocity ASD017 Deetron Rotational Gravity

114 The Escape Velocity ASD018 DJ Surgeles Triglav

115 The Escape Velocity ASD019 Orlando Voorn Star Travel

116 The Escape Velocity ASD020 ORBE Beyond Our Ability

117 The Escape Velocity ASD021 Optic Nerve Uncharted

118 The Escape Velocity ASD022 Ribé Order In Chaos

119 The Escape Velocity ASD023 Hieroglyphic Being Dance Of The Living Image

120 The Escape Velocity ASD024 Ma Haiping Chang’e-4

121 The Escape Velocity ASD025 Johannes Volk A New Biosphere

122 The Escape Velocity ASD026 Shinedoe The Observer

123 The Escape Velocity ASD027 Mike Storm + DJ Surgeles Some Thing Some Where

124 The Escape Velocity ASD028 Jonas Kopp & Jeroen Search Holographic Universe

125 The Escape Velocity ASD029 Mike Storm Indigenous Lifeforms

126 The Escape Velocity ASD030 Modularz Compilation The 6 Planets Discovery Mission

127 The Escape Velocity ASD031 Ocktawian Into A Strange Surface & Core

128 The Escape Velocity ASD032 Pushmann Gamma Ray Phase, The Trip

129 The Escape Velocity ASD033 Ecilo UnCovert

130 The Escape Velocity ASD034 Giri Antichthon

131 The Escape Velocity ASD035 30 drop Photosynthetic Zone Manifesto

132 The Escape Velocity ASD036 DJ Surgeles Tales From The Extraordinary

133 The Escape Velocity ASD037 Nørbak Flor Do Fatalismo

134 The Escape Velocity ASD038 Staffan Linzatti The Silent Dreamers

135 The Escape Velocity Jonas Kopp + Jeroen Search talk to Jeff Mills Translations

SPANISH ¿Qué importancia cree que tiene el acto de usar la imaginación para una mejor forma de existencia? Jonas: Creo que la imaginación no está apegada a ningún tipo de conocimiento previamente En lugar de hacer el típico tipo de preguntas, creo que hay otras formas de saber descubierto y por lo tanto está ligada a la innovación, la cual es la puerta de entrada a sobre ti, tu trabajo y este proyecto. En algo parecido a un examen de correlación nuevas formas e ideas que generalmente pueden cambiar el paradigma de diversas áreas psicológica, por favor, responde con lo primero que se te ocurra. Allá vamos: de la vida, como la tecnológica, la social, el arte en todos sus géneros y por lo tanto un avance constante en la evolución de nuestra raza. Objetivo: Evolucionar en orden Espacio exterior: Luz y vibración ¿Cuál es el concepto de este álbum de colaboración con Jeroen Search? ¿Por qué Espacio interior: Encuentro con uno mismo este tema? Progreso: Manifestación de la creación Longevidad: Naturaleza Personalmente estaba buscando el momento y el espacio adecuado para desarrollar y Felicidad: Búsqueda infinita traducir la teoría del “Universo Holográfico” en forma de arte, algunos de los científicos modernos están confirmando esta teoría, que afirma que todo lo que existe en nuestro Hoy, la NASA ha confirmado oficialmente la existencia de otro tipo de galaxia. No universo y en nuestro universo individual es una creación holográfica, creada y proyect- se trata de una que esté en otro lugar fuera de nuestro Universo, sino que en reali- ada por la mente. dad rodea a aquella en la que nos encontramos. Creo que el concepto que Jeff Mills ha difundido en Axis desde el principio de la línea La NASA también ha explicado que tiene pruebas de que a veces estas capas sepa- de tiempo del sello tiene una estrecha relación con esto y es en esta plataforma donde radas del Espacio y el Tiempo se cruzan y permiten la creación de portales. Así que realmente me siento seguro de comunicar este tipo de conceptos a través de la forma de todo es cierto. Alienígenas, OVNIS, Cielo/Infierno, todo el episodio de los Antiguos arte visual y sonoro. Alienígenas. Ahora, ¿qué debe hacer la humanidad? Gracias por la oportunidad de comunicar este concepto en Axis.

Toda esta información sobre las verdades o conocimientos sobre el universo y la cos- ¿Cómo podemos relacionar lo que escuchamos en tu música con este concepto? mología estaba y está disponible dentro de nosotros, a través del encuentro íntimo con nuestro Ser energético podemos sentir y recibir toda esta información, que es infinita Acostumbro a meditar para autogenerar un estado mental determinado que me permite como el universo, pero que se recibiría si la persona es capaz de llegar en orden al nivel conectar con elementos energéticos que suelen entrar en diversos tipos de formas de consciente, que es diferente en cada persona individual y depende de diversos factores hologramas visuales “vista holográfica” como por ejemplo el “tiempo / tempo” para desarrollar naturalmente la propia concien- Estos pueden formar diversos tipos de formas, estructuras, paisajes, figuras y colores... cia personal. A veces visualizo esferas que giran a diferentes velocidades como un gran mecanismo de relojería que me dan la información de qué tipo de tiempo de composición o de retar- Nuestro Ser energético individual se encuentra vibrando altamente en algún punto de do puedo aplicar a mis sonidos o qué tipo de capas puedo crear utilizando pads. nuestra galaxia local o en algunas de las galaxias cercanas como Andrómeda, desde las Así que para mí, todo lo que creamos y manifestamos en nuestra realidad es procesado localizaciones de esos sistemas estelares estos Seres avanzados se proyectan utilizan- por nuestra mente y es un proceso mental, que incluye la visión holográfica o la imag- do una estructura energética compuesta por diversos tipos de elementos energéticos inación. que funcionan como enlace y gestión entre el Ser y lo que llamamos cuerpo físico, un vehículo bioenergético que utilizamos para experimentar la vida en el Planeta Tierra, Jeroen: el cual es un planeta físico pero también tiene diferentes capas o dimensiones multi- frecuentes donde además de nosotros “los seres humanos” hay una vasta diversidad de Un Universo dentro de un Universo, un Mundo dentro de un Mundo, otra realidad seres energéticos que residen en nuestro propio planeta, algunos de ellos son de polari- dentro de la realidad, hasta hace unos 4 ½ años, no imaginaba realmente que los dad negativa y otros de polaridad positiva, los positivos son los que manejan el sistema humanos se adaptarían a esta realización. Ahora estamos tan cerca de otro (mental de vida en el planeta, salvaguardando el equilibrio de los ecosistemas, llevando la flora y físicamente), pero tan lejos por elección, no por consecuencias incontrolables. y la fauna de vida. ¿Qué cree que dice esto de la especie humana?

Personalmente, creo que la NASA y otras organizaciones tienen mucha más infor- Creo que la especie humana, con el tiempo, ha pasado de estar centrada en el grupo a mación en sus escritorios de lo que actualmente nos están revelando, creo que esta estar más centrada en la propia vida individual. Seguimos necesitando a otros humanos brecha en la entrega en tiempo real de la información se debe al hecho de que la may- para “sobrevivir” a la vida cotidiana, pero supongo que tenemos una especie de impulso oría de la población mundial no está conscientemente preparada para recibir y entender para centrarnos en los valores personales. muchas de las noticias de la cosmología y lo verdadero de nuestra creación y nuestra realidad. Esto puede crear un gran caos mental en la mayoría de las personas y más aún Díganos de qué trata el Universo Holográfico. en estos tiempos extraordinariamente caóticos en los que nos encontramos actualmente. Para mí, el Universo Holográfico consiste en reconocer el hecho de que debe haber algo Al final sabemos que lo que tratamos de entender individualmente de una manera natu- más entre el cielo y la tierra. En este estado mental espiritual todos los límites se des- ral, el tiempo y el tempo. vanecen y uno es verdaderamente libre. Trabajar en este proyecto con Jonas fue un verdadero placer para mí y porque lo conozco y lo conocí en persona. Creo que fue mucho más fácil conseguir esta conexión espiritual especial que se necesitaba para terminar este proyecto. Así que de esta manera creo que produjimos el álbum en nuestro propio ‘Universo Holográfico’. 136 The Escape Velocity ¿Qué elogio le harías a la humanidad? ¿Qué queja le darías a la humanidad? ¿Qué qui est une planète physique mais qui a aussi différentes couches ou dimensions multi- consejo le darías a la humanidad? fréquentes où en plus de nous “les êtres humains” il y a une grande diversité d’êtres énergétiques qui résident sur notre propre planète, certains d’entre eux sont de polarité Le daría el cumplido a la humanidad de que siempre intentamos cruzar los límites y négative et d’autres de polarité positive, les positifs sont ceux qui gèrent le système de seguir desarrollándonos, como en la tecnología, la exploración del espacio y demás. Mi vie sur la planète, sauvegardant l’équilibre des écosystèmes, portant la flore et la faune queja es que al hacer esto no cuidamos lo suficiente de nuestro propio planeta.Así que de la vie. mi consejo sería que también nos centráramos más en las cuestiones medioambientales. Personnellement, je crois que la NASA et d’autres organisations ont beaucoup plus 5. Fantaseemos. Imagina un tipo especial de virus biológico que borre toda la memo- d’informations sur leurs bureaux que ce qu’ils nous révèlent actuellement, je crois ria a largo plazo de los humanos. No hay cura conocida, ya que manipular la mente que cette lacune dans la livraison en temps réel de l’information est due au fait que la humana podría ser demasiado arriesgado. Cada uno de nosotros sólo puede recordar plupart de la population mondiale n’est pas consciemment prête à recevoir et à com- las últimas 24 horas. ¿De qué manera cree que esto podría cambiar la evolución de la prendre beaucoup de nouvelles cosmologiques et la vraie réalité de notre création et de humanidad? notre réalité. Cela peut créer un grand chaos mental chez la plupart des gens et encore Si sólo podemos recordar las últimas 24 horas y sin la posibilidad de recordar el pas- plus en ces temps chaotiques extraordinaires dans lesquels nous nous trouvons actuelle- ado, creo que la parte más antigua de nuestro cerebro, el cerebro reptiliano, tomará el ment. control de nosotros. Esta parte más antigua del cerebro controla las funciones vitales del cuerpo, pero no es capaz de memorizar nada. Si esto ocurre creo que la evolución de la En fin de compte, nous savons ce que nous essayons individuellement de comprendre humanidad se detendrá. d’une manière naturelle, en temps et en rythme.

FRENCH Quelle importance accordez-vous à l’utilisation de l’imagination pour une meil- Jonas : leure façon d’exister ?

Plutôt que de poser le type de questions habituelles, je pense qu’il y a d’autres Je crois que l’imagination n’est pas liée à un type de connaissance préalablement décou- façons de nous renseigner sur vous, votre travail et ce projet. Dans quelque chose vert et qu’elle est donc liée à l’innovation, qui est la porte d’entrée vers de nouvelles comme un examen de corrélation psychologique, veuillez répondre par la première formes et idées qui peuvent généralement changer le paradigme de divers domaines de chose qui vous vient à l’esprit. C’est parti : la vie, tels que la technologie, le social, l’art dans tous ses genres et donc une avancée constante dans l’évolution de notre race. Objectif : Évoluer dans l’ordre Espace extérieur : Lumière et vibration Quel est le concept de cet album de collaboration avec Jeroen Search ? Pourquoi Espace intérieur : Rencontre avec soi-même ce sujet ? Progrès : Manifestation de la création Longévité : Nature Personnellement, je cherchais le bon moment et l’espace pour développer et traduire la Bonheur : Recherche infinie théorie de “l’univers holographique” en forme d’art. Certains scientifiques modernes confirment cette théorie, qui affirme que tout ce qui existe dans notre univers et dans Aujourd’hui, la NASA a officiellement confirmé l’existence d’un autre type de notre univers individuel est une création holographique, créée et projetée par l’esprit. galaxie. Il ne s’agit pas d’une galaxie située à un autre endroit en dehors de notre Je pense que le concept que Jeff Mills a diffusé sur Axis depuis le début du label est Univers, mais d’une galaxie qui entoure celle dans laquelle nous nous trouvons étroitement lié à cette théorie et c’est sur cette plateforme que je me sens vraiment en actuellement. confiance pour communiquer ces types de concepts à travers l’art visuel et sonore. La NASA a également expliqué qu’elle avait la preuve que, parfois, ces couches Je vous remercie de m’avoir donné l’occasion de communiquer ce concept sur Axis. distinctes d’espace et de temps se croisent et permettent la création de portails. Donc, tout est vrai. Aliens, OVNIs, Paradis/Enfer, tout l’épisode des Anciens Comment pouvons-nous corréler ce que nous entendons dans votre musique à ce Aliens. Maintenant, que doit faire l’humanité ? concept ?

Toutes ces informations sur les vérités ou les connaissances sur l’univers et la cosmol- J’ai l’habitude de méditer pour générer automatiquement un état d’esprit déterminé qui ogie étaient et sont disponibles en nous, à travers la rencontre intime avec notre Être me permet de me connecter à des éléments énergétiques qui se présentent généralement énergétique nous pouvons sentir et recevoir toutes ces informations, qui sont infinies sous diverses formes d’hologrammes visuels “holographic view”. comme l’univers, mais qui seraient reçues si la personne est capable de les mettre en Ceux-ci peuvent former divers types de formes, structures, paysages, figures et cou- ordre au niveau conscient, ce qui est différent dans chaque personne individuelle et il leurs... dépend de divers facteurs comme par exemple “temps / tempo” pour développer na- Parfois, je visualise des sphères tournant à différentes vitesses comme un grand mé- turellement la conscience personnelle elle-même. canisme d’horlogerie qui me donne des informations sur le type de temps de composi- tion ou de retard que je peux appliquer à mes sons ou sur le type de couches que je peux Notre Être énergétique individuel vibre fortement à un moment donné dans notre galax- créer en utilisant des pads. ie locale ou dans certaines galaxies proches comme Andromède, à partir de l’emplace- Donc, pour moi, tout ce que nous créons et manifestons dans notre réalité est traité par ment de ces systèmes stellaires, ces Êtres avancés se projettent en utilisant une struc- notre esprit et c’est un processus mental, qui inclut la vision holographique ou l’imagi- ture énergétique composée de divers types d’éléments énergétiques qui fonctionnent nation. comme un lien et une gestion entre l’Être et ce que nous appelons le corps physique, un véhicule bioénergétique que nous utilisons pour expérimenter la vie sur la planète Terre,

137 The Escape Velocity Jeroen : Si nous ne pouvons nous souvenir que des dernières 24 heures et que nous n’avons pas la possibilité de nous souvenir du passé, je pense que la partie la plus ancienne de notre Un Univers dans un Univers, un Monde dans un Monde, une autre réalité dans la cerveau, le cerveau reptilien, prendra le contrôle. Cette partie la plus ancienne du cer- réalité, jusqu’à il y a environ 4 ½ ans, je n’imaginais pas vraiment que les humains veau contrôle les fonctions vitales du corps, mais n’est pas capable de mémoriser quoi s’adapteraient réellement à cette réalisation. Maintenant, nous sommes si proches que ce soit. Si cela se produit, je pense que l’évolution de l’humanité s’arrêtera. d’un autre (mentalement et physiquement), mais pourtant si éloignés par choix, et non par des conséquences incontrôlables. Que pensez-vous que cela révèle sur JAPANESE l’espèce humaine ? Jonas: Je pense que l’espèce humaine a évolué au fil du temps, passant de la concentration sur le groupe à la concentration sur la vie individuelle. Nous avons toujours besoin des -典型的なタイプの質問をするのではなく、あなたやあなたの仕事、そしてこ autres humains pour “survivre” à la vie de tous les jours, mais nous avons une sorte de のプロジェクトについて知るための他の方法があると思います。心理学的な相 besoin de nous concentrer sur nos valeurs personnelles, je suppose. 関試験のようなもので、頭に浮かんだことを最初に答えてください。それでは、どうぞ。 Jusqu’à présent, qu’est-ce que la musique vous a appris ? Et comment l’appliquez- 目的: 順番に進化していく vous dans votre vie quotidienne ? 宇宙空間: 光と振動内側の空間: 自己との出会い Jusqu’à présent, la musique m’a appris beaucoup de choses, c’est le moyen ultime 進化: 創造の実現 d’exprimer mes sentiments, ma créativité et de modifier mon état d’esprit. S’il se passe 長寿: 自然 beaucoup de choses dans ma tête, la meilleure façon de m’éclaircir les idées est de faire 幸福: 無限の探求 de la musique et de me perdre dans l’instant, d’oublier tout et de suivre le courant. Mais pour moi aussi, écouter de la musique peut modifier mon état d’esprit, il est essen- -今日、NASAはもう一つのタイプの銀河の存在を公式に確認しました。それ tiel pour moi d’avoir de la musique autour de moi. は、私たちの宇宙の外側にあるものではなく、私たちが実際にいる宇宙を取り Je produis de la musique depuis plus de 25 ans et j’en suis toujours aussi excité, je ne 囲んでいるものです。 m’ennuie jamais. J’aime quand, en travaillant dans le studio, ce moment magique se また、NASAは、これらの別々の空間と時間の層が交差することでポータルがで produit lorsque vous trouvez les couches parfaites pour la musique sur laquelle vous きるという証拠があると説明しています。つまり、すべてが真実なのです。宇 travaillez. J’enregistre toujours à la volée comme je l’ai fait pendant des années, donc 宙人、UFO、天国と地獄、古代のエイリアンのエピソードすべて。さて、人類 d’une certaine manière j’essaie toujours de capturer ce moment magique dans le studio, は何をすべきか？ et j’espère revivre ce moment en écoutant cette musique plus tard. 私たちのエネルギー的存在との親密な出会いを通して、私たちはこれらの情報 Pouvez-vous nous dire de quoi parle Holographic Universe ? をすべて感じ、受け取ることができます。私たち個人のエネルギー的存在は、私たちの地元の銀河やアンドロメダのよう Pour moi, l’univers holographique consiste à reconnaître le fait qu’il doit y avoir plus な近隣の銀河のある地点で非常に振動しています。その星系の場所から、これ de choses entre le ciel et la terre. Dans cet état d’esprit spirituel, toutes les frontières らの高度な存在は、様々な種類のエネルギー的要素で構成されたエネルギー的 s’effacent et on est vraiment libre. Travailler sur ce projet avec Jonas a été un réel plai- 構造を使って自分自身を投影しています。この構造は、存在と私たちが肉体と sir pour moi et parce que je le connais et l’ai rencontré en personne. Je pense qu’il était 呼ぶものの間のリンクと管理として機能します。地球は物理的な惑星ですが、 beaucoup plus facile d’obtenir cette connexion spirituelle spéciale qui était nécessaire 異なる層や多次元が存在し、私たち「人間」に加えて、私たちの惑星には膨大 pour terminer ce projet. Ainsi, je pense que nous avons produit cet album dans notre な種類のエネルギー的存在が存在しています。その中には負の極性を持つもの propre “univers holographique”. と正の極性を持つものがあり、正の極性を持つものは、地球上の生命システムを管理し、生態系のバランスを守り、動植物の生命を維持しています。 Quel compliment feriez-vous à l’humanité ? Quelle plainte donneriez-vous à l’hu- manité ? Quel conseil donneriez-vous à l’humanité ? 個人的には、NASAやその他の組織は、現在私たちに公開している情報よりもはるかに多くの情報を机の上に持っていると信じています。このような情報をリ Le compliment que je ferais à l’humanité est que nous essayons toujours de franchir les アルタイムで提供できないギャップは、世界中のほとんどの人々が、多くの宇 frontières et de continuer à nous développer, comme dans la technologie, l’exploration 宙論のニュースや、私たちの創造と現実の真の姿を受け取り、理解する意識的 de l’espace, etc. Ce que je reproche, c’est qu’en faisant cela, nous ne prenons pas assez な準備ができていないことが原因だと考えています。それは、多くの人々の心 soin de notre propre planète. Mon conseil serait donc de se concentrer davantage sur les に大きな混乱をもたらすかもしれません。私たちが現在実験しているこの異常 questions environnementales. な混沌とした時代においては、なおさらです。

Fantasmons. Imaginez un type spécial de virus biologique qui efface toute mémoire 最終的には、私たちは個々が自然な方法、時間とテンポで理解しようとするも à long terme des humains. Il n’existe aucun remède connu, car il serait trop risqué のを知っています。 de manipuler l’esprit humain. Chacun d’entre nous ne peut plus se souvenir que des dernières 24 heures. De quelle manière pensez-vous que cela pourrait changer - 想像力を働かせることは、より良い存在になるためにどれほど重要だと思い l’évolution de l’humanité ? ますか？想像力とは、過去に発見された知識に縛られることなく、技術、社会、芸術など様々な分野のパラダイムを変えることができる新しい形やアイデアへの入り口であるイノベーションにつながるものであり、人類の進化のための絶え間ない進歩であると信じています。

138 The Escape Velocity - Jeroen Searchとのコラボレーション・アルバムのコンセプトは何ですか？ - Holographic Universeについて教えてください。なぜこのテーマなのでしょうか？私にとってホログラフィック・ユニバースとは、天と地の間にはもっと多くの個人的には、「ホログラフィック・ユニバース」の理論を発展させ、アートのことが起こっているはずだという事実を認めることです。このスピリチュアル形に変換するための適切な時間と空間を探していました。現代の科学者の中にな精神状態では、すべての境界線が消え去り、本当に自由になります。ジョナは、私たちの宇宙や個々の宇宙に存在するすべてのものは、心によって作り出スと一緒にこのプロジェクトに取り組むことは、私にとって本当に楽しいことされ、投影されたホログラムの創造物であるというこの理論を確認している人でした。なぜなら、私は彼を知っていて、実際に会ったからです。このプロジもいます。ェクトを完成させるために必要な、特別なスピリチュアルなつながりを得るの私は、ジェフ・ミルズがAxisの設立当初から広めてきたコンセプトは、この理は、より簡単だったと思います。このようにして、私たちは自分たちの「ホロ論と密接な関係があると考えています。そして、このプラットフォームでこグラフィック・ユニバース」でアルバムを制作したのだと思います。そ、ビジュアルとサウンドのアートフォームを通して、この種のコンセプトを伝える自信があります。 - あなたは人類にどんな褒め言葉を贈りますか？あなたは人類にどんな苦情をこのコンセプトをAxisで伝える機会を与えていただきありがとうございます。言うだろうか？あなたなら人類にどんなアドバイスをしますか？

- あなたの音楽から聴こえるものを、このコンセプトとどのように関連付ける人類は、テクノロジーや宇宙開発など、常に境界線を越えて発展し続けようとことができますか？している点を褒めてあげたいですね。不満なのは、そうすることで自分たちの地球を十分に大切にしていないことです。ですから、環境問題にもっと力を入私は瞑想をして、様々なタイプの視覚的なホログラムの形「ホログラフィッれるべきだと思います。ク・ビュー」になるエネルギー的な要素とつながることができる確定的な心の状態を自動生成するのに使っています。 - 空想してみよう。人間の長期的な記憶をすべて消し去ってしまう特殊な生物これらは、様々なタイプの形、構造、風景、図、色を形成することができま学的ウイルスがあるとします。人間の心に手を加えることは危険すぎるため、す...。治療法は知られていません。私たちは今、過去24時間のことしか覚えていませ時には、大きな時計仕掛けのように様々な速度で回転する球体を思い浮かべまん。これは、人類の進化にどのような変化をもたらすと思いますか？す。これらの球体は、自分の音にどのような作曲時間やディレイタイムを適用できるか、あるいはパッドを使ってどのようなレイヤーを作れるかといった情もし私たちが過去24時間しか記憶できず、過去を思い出す可能性がなければ、報を与えてくれます。脳の最も古い部分である爬虫類脳が私たちを支配することになると思います。私にとっては、私たちが創造し、現実に現れるものはすべて心で処理され、そこの最も古い脳の部分は、体の生命機能をコントロールしていますが、何かをれは精神的なプロセスであり、ホログラフィック・ビジョンやイマジネーショ記憶することはできません。そうなると、人類の進化は止まってしまうのではンも含まれます。ないでしょうか。

Jeroen: A Conversation with Ecilo Translations - 宇宙の中の宇宙、世界の中の世界、現実の中のもう一つの現実、4年半ほど前までは、人間が実際にこの認識に適応するとは本当に想像していませんでし SPANISH た。今、私たちは（精神的にも物理的にも）別のものにとても近づいていますが、コントロールできない結果ではなく、選択によってとても遠くにいるので En la música tecno, es raro encontrar artistas y música de alguien como tú, que す。このことは、人間という種についてどのように考えていますか？ vive en Yakarta, Indonesia. Sin embargo, al escuchar tu música, es fácil escuchar y percibir un lenguaje universal que podría provenir del hecho de que, como hu- 人類は、集団を重視していた時代から、個人の生活を重視するようになったの manos, compartimos la misma visión y distancia de lo que nos rodea. Esta distan- だと思います。日常生活を「生き抜く」ためには他の人間が必要ですが、個人 cia, un cierto nivel de curiosidad y la habilidad para traducir estos sentimientos en の価値観を重視したいという衝動があるのだと思います。 sonido y música parecen mostrarnos lo lingüística que puede ser la música tecno. En su opinión, ¿qué opina de lo que nos separa y de lo que nos acerca? - これまでのところ、音楽はあなたに何を教えてくれましたか、あるいは教えてくれましたか？また、それを日常生活にどのように活かしていますか？ Lo que nos separa es la diferencia de cultura, mentalidad y fuente de conocimiento. Y lo que nos acerca es el sentimiento humano y la similitud de las vibraciones. La música これまでのところ、音楽は私に多くのことを教えてくれました。音楽は、私の siempre tiene vibraciones. 感情や創造性を表現する究極の方法であり、私の心の状態を変化させるものです。頭の中でいろいろなことが起こっているとき、頭をスッキリさせる一番の ¿Cómo describirías el sonido de tu música? Es Techno, pero ¿cómo influye tu en- 方法は、音楽を作り、その瞬間に没頭して、すべてを忘れて流れに身を任せる torno físico en lo que escuchamos? ことです。しかし、私の場合、音楽を聴くことでも心の状態を変えることができるので、 Siempre describo mi música como un código de mis sentimientos, ya sea lo que veo, 私の周りに音楽があることは不可欠です。 escucho o siento. 25年以上も音楽を制作していますが、今でも興奮していますし、飽きることがありません。スタジオで作業しているときに、自分が作っている音楽に必要 En Asia hay menos artistas de Techno que en Occidente, pero como en cualquier な完璧なレイヤーを見つけたときの魔法のような瞬間が大好きです。私は何年 otra parte del mundo, todos miramos a las estrellas y nos preguntamos, traduci- もそうしてきたように、今でもすべてをその場で録音しています。ですから、 mos esas preguntas en sonido y las proponemos a los oyentes. Como provocador, ある意味、私は常にスタジオでの魔法の瞬間を捉えようとしていますし、後で ¿cuál es el elemento más importante a destacar de su música en este álbum? その音楽を聴くときに再びその瞬間を再現したいと思っています。Translation by GoogleTranslate

139 The Escape Velocity Se puede escuchar la textura y la forma de mi música. Pero lo más importante es que se ¿De dónde parten tus raíces musicales? puede sentir esperanza y pasión. No crecí en una familia de músicos. Cuando estaba en la escuela primaria, veía a Cómo define el término música “Techno”? muchos de mis amigos tocar en una banda y me parecía genial. Empecé mi carrera musical en el instituto como vocalista. Tengo una banda que sólo toca canciones de blur, El techno es la música de baile inteligente. después de eso no estaba satisfecho que aprendí el bajo para formar una banda de metal especial cubriendo canciones de Metallica como Seek and Destroys, Master Of Puppets ¿Cuál es el concepto del [álbum] “Uncovert” y cómo se relaciona la obra de arte y muchos más. A principios de 2000, entré en el instituto. Un amigo mío me dio nuevas del álbum con eso? influencias, desde el Hip Metal hasta el Acid Jazz. Empezó a cambiar mi forma de ver cómo tocaba y escuchaba la música. Después de eso tuve que dejar por un tiempo la El concepto básico del álbum trata de la singularidad de la tecnología. Lo que vemos música porque estaba cansado de tener bandas que siempre se rompían. Después de eso, en el ámbito de la ficción se está convirtiendo en algo real. Mientras que los ojos en mi amigo llamado Oki Koro me introdujo en la música House. El resto es historia. sí describen la Inteligencia Artificial que gobierna el mundo, si te fijas en la puerta del diseño, ahí es donde se corre tu puerta hacia otro mundo u otro espacio. En este álbum Dans la musique techno, il est rare de trouver des artistes et de la musique d’une revelo qué tipo de viaje se encuentra más allá de esa puerta personne comme vous, basée à Jakarta, en Indonésie. Pourtant, en écoutant votre musique, il est facile d’entendre et de sentir un langage universel qui pourrait pro- Recientemente, los responsables del Pentágono estadounidense anunciaron que venir du fait que, en tant qu’humains, nous partageons la même vision et la même iban a intensificar sus esfuerzos de investigación sobre los objetos voladores no distance de ce qui nous entoure. Cette distance, un certain niveau de curiosité et la identificados. En cierto caso, los pilotos militares estadounidenses vieron un ob- capacité de traduire ces sentiments en son et en musique semblent nous montrer à jeto que parecía desafiar todas las reglas de la física y que poseía una tecnología quel point la musique techno peut être linguistique. Selon vous, que pensez-vous de que podría estar entre 100 y 1.000 años más avanzada que la nuestra. Como mera ce qui nous divise et de ce qui nous rapproche ? suposición, también debemos suponer que ciertas cosas que los humanos crean y generan de forma natural podrían ser incluso más únicas de lo que creemos. Imag- Ce qui nous sépare, c’est la différence de culture, de mentalité et de source de connais- inemos que una forma de vida extraterrestre puede oír y detectar todo el sonido sances. Et, ce qui nous rapproche, c’est le sentiment humain et la similarité des vibra- procedente de este planeta, ¿cómo podría cambiar eso la forma de hacer música si tions. La musique a toujours des vibrations. se demostrara que esta situación es cierta y un hecho? FRENCH Sería injusto si diera un solo nombre porque ha habido muchas influencias en mí. Pero intento reducirlo a 7 nombres. John Coltrane, Quincy Jones, Prince, Ryuichi Sakamoto Dans la musique techno, il est rare de trouver des artistes et de la musique d’une Madlib y Jeff Mills. Todos ellos tenían la misma consistencia, trabajo duro, exploración personne comme vous, basée à Jakarta, en Indonésie. Pourtant, en écoutant votre e invención. musique, il est facile d’entendre et de sentir un langage universel qui pourrait provenir du fait que, en tant qu’humains, nous partageons la même vision et la même Sabemos que uno de los primeros músicos asiáticos en utilizar instrumentos elec- distance de ce qui nous entoure. Cette distance, un certain niveau de curiosité et la trónicos fue Teddy Robin, el líder chino de la banda de pop rock Teddy Robin & capacité de traduire ces sentiments en son et en musique semblent nous montrer à the Playboys en los años sesenta, quel point la musique techno peut être linguistique. Selon vous, que pensez-vous de Pero la forma de arte del Techno es más que un sonido, es también un cierto espíri- ce qui nous divise et de ce qui nous rapproche ? tu aventurero y una perspectiva de futuro. ¿Hay algún ciudadano indonesio (del pasado o del presente) que englobe este tipo de mentalidad y que pueda influir en Ce qui nous sépare, c’est la différence de culture, de mentalité et de source de connais- la creatividad de la gente? sances. Et, ce qui nous rapproche, c’est le sentiment humain et la similarité des vibrations. La musique a toujours des vibrations. Hay un tipo llamado Harry Roesli si escuchamos su trabajo entre 1970 y 1980, que contiene elementos de Blues, Rock, Contemporáneo, un poco de Jazz, excéntrico en las Comment décririez-vous le son de votre musique - c’est de la Techno, mais com- letras y muy progresivo. Especialmente el álbum Ken Arok y el álbum Titik Api. ment votre environnement physique influence-t-il ce que nous entendons ?

De todos los temas del álbum “Uncovert”, ¿cuál representa mejor el concepto y Je décris toujours ma musique comme un code de mes sentiments, que ce soit ce que je por qué? vois, entends ou ressens.

Creo que todos los temas de este álbum representan sus propios mundos. Pero hay dos Il y a moins d’artistes Techno en Asie qu’en Occident, mais comme dans n’importe temas que, en mi opinión, representan realmente el álbum, el primero Uncovert y el quelle autre partie du monde, nous regardons tous vers les étoiles et nous nous segundo Dalang Antariksa. Cuando escuches “Uncovert” te llevarás a una atmósfera de interrogeons, nous traduisons ces questions en son et les proposons aux auditeurs. curiosidad y cuando escuches Dalang Antariksa escucharás el sonido de Dalang o Mas- En tant que provocateur, quel est l’élément le plus important à retenir de votre termind que controla todo el universo. musique sur cet album ?

Si todos los productores de Techno del mundo leyeran esta entrevista, ¿qué te gus- Vous pouvez entendre la texture et la forme de ma musique. Mais le plus important est taría decirles? que vous pouvez ressentir l’espoir et la passion.

El Techno no es sólo diseño de sonido y todas las técnicas, sino que no hay que olvidar Comment définissez-vous le terme de musique “Techno” ? que la propia música tiene que transmitir el mensaje. La techno est une musique de danse intelligente.

140 The Escape Velocity Quel est le concept de l’”Uncovert” [album] et comment la pochette de l’album s’y Si tous les producteurs de techno du monde lisaient cette interview, que vou- rattache-t-elle ? driez-vous leur dire ?

Le concept de base de l’album concerne la singularité de la technologie. Ce que nous La techno ne se résume pas au sound design et à toutes les techniques, mais n’oubliez voyons dans le domaine de la fiction est en train de devenir réel.Alors que les yeux pas que la musique elle-même doit transmettre le message. eux-mêmes décrivent l’intelligence artificielle qui dirige le monde, si vous regardez la porte sur le design, c’est là que se trouve votre porte vers un autre monde ou un autre Quelles sont vos racines musicales ? espace. Dans cet album, je révèle quel genre de voyage vous rencontrez au-delà de cette porte. J’ai grandi dans une famille qui n’était pas du tout musicienne. Quand j’étais à l’école primaire, j’ai vu beaucoup de mes amis jouer dans un groupe et j’ai pensé que c’était Récemment, les responsables du Pentagone américain ont annoncé qu’ils allaient cool. J’ai commencé ma carrière musicale au collège en tant que vocaliste. J’ai un intensifier leurs efforts de recherche sur les objets volants non identifiés. Dans un groupe qui ne joue que des chansons floues, après cela je n’étais pas satisfait que j’ai certain cas, des pilotes militaires américains ont vu un objet qui semblait défier appris la guitare basse pour former un groupe de métal spécial reprenant des chan- toutes les règles de la physique et qui possédait une technologie qui pourrait être sons de Metallica comme Seek and Destroys, Master Of Puppets et bien d’autres. Au 100 à 1 000 ans plus avancée que la nôtre. À titre d’hypothèse, nous devons égale- début de l’année 2000, je suis entré au lycée. Un de mes amis m’a donné de nouvelles ment supposer que certaines choses que les humains créent et génèrent naturel- influences, du Hip Metal à l’Acid Jazz. Cela a commencé à changer ma façon de voir lement pourraient être encore plus uniques que nous ne le pensons. Imaginons comment je jouais et écoutais la musique. Après cela, j’ai dû arrêter pendant un certain qu’une forme de vie extraterrestre puisse entendre et détecter tous les sons prove- temps la musique parce que j’étais fatigué d’avoir des groupes qui se séparaient toujo- nant de cette planète, comment cela pourrait-il changer votre façon de faire de la urs. C’est alors que mon ami Oki Koro m’a fait découvrir la musique house. Le reste musique si cette situation était avérée et réelle ? appartient à l’histoire.

J’imagine que des créatures ou des extraterrestres ont dû connaître tous les sons de la JAPANESE terre, de l’élément de base de la terre au son produit. Je vais essayer de capturer le son de la vie humaine autour de moi, des bébés qui pleurent, des gens qui rient joyeuse- -テクノミュージックでは、インドネシアのジャカルタを拠点とするあなたの ment, des gens qui font des activités, et j’essaierai de les mélanger en harmonie, parce ようなアーティストや音楽は珍しいと思います。しかし、あなたの音楽を聴い que chaque expression humaine a une vibration. Et le message est que la civilisation du ていると、人間が自分を取り巻くものに対して同じような見方や距離感を持っ monde peut être abandonnée, mais que ce monde a une vie magnifique. ていることに起因する、普遍的な言語を容易に感じ取ることができます。この距離感、ある種の好奇心、そしてその感情を音や音楽に変換する技術は、テク Qui vous a le plus influencé dans la musique ? Pourquoi ? ノミュージックがいかに言語的に優れているかを示しているように思います。あなたの考えでは、私たちを分断するものと、私たちを結びつけるものについ Il serait injuste que je donne un nom car il y a eu tellement d’influences sur moi. Mais て、どのように感じていますか？ j’essaie de le réduire à 7 noms. John Coltrane, Quincy Jones, Prince, Ryuichi Sakamo- to, Madlib et Jeff Mills. Ils avaient tous la même cohérence, le même travail acharné, 私たちを分断するものは、文化、メンタリティ、知識のソースの違いです。そ l’exploration et l’invention. して、私たちを近づけるものは、人間の感覚とバイブレーションの類似性です。音楽には常にバイブレーションがあります。 Nous savons que l’un des premiers musiciens asiatiques à utiliser des instruments électroniques a été Teddy Robin, le leader chinois du groupe pop rock Teddy Robin - あなたの音楽のサウンドをどのように表現していますか？テクノですが、あ & the Playboys dans les années 1960, なたの物理的な環境が私たちの耳にどのような影響を与えるのでしょうか？ Mais l’art de la techno ne se résume pas au son, c’est aussi un certain esprit d’aventure et des perspectives d’avenir. Y a-t-il des ressortissants indonésiens 私はいつも自分の音楽を、見たもの、聞いたもの、感じたものなど、自分の感 (passés ou présents) qui incarnent ce type de mentalité et qui pourraient avoir une 情のコードとして表現しています。 influence sur les gens dans leur créativité ? - アジアのテクノアーティストは欧米に比べて少ないですが、世界の他の地域 Il y a un type qui s’appelle Harry Roesli, si on écoute son travail entre 1970 et 1980, qui と同じように、私たちは皆、星を見上げて疑問を持ち、その疑問を音に変換し contient des éléments de blues, de rock, de contemporain, un peu de jazz, des paroles てリスナーに提案しています。挑発者として、今回のアルバムであなたの音楽 excentriques et très progressives. Surtout l’album Ken Arok et l’album Titik Api. について最も注目すべき要素は何ですか？

Parmi tous les titres de l’album “Uncovert”, lequel représente le mieux le concept 私の音楽の質感や形を聴いていただけると思います。しかし、最も重要なの et pourquoi ? は、希望と情熱を感じてもらえることです。

Je pense que tous les titres de cet album représentent leurs propres mondes. Mais il y - あなたは「テクノ」という音楽をどのように定義していますか？ a deux titres qui, à mon avis, représentent vraiment l’album, d’abord Uncovert, puis Dalang Antariksa. Lorsque vous entendrez “Uncovert”, vous serez transporté dans une テクノはインテリジェントなダンスミュージックです。 atmosphère de curiosité et lorsque vous entendrez Dalang Antariksa, vous entendrez le son de Dalang ou Mastermind qui contrôle tout l’univers. - ”Uncovert”(アルバム)のコンセプトと、アルバムのアートワークはどのようにつながっていますか？

141 The Escape Velocity アルバムの基本的なコンセプトは、テクノロジーのシンギュラリティについて - あなたの音楽のルーツはどこにあるのでしょうか？です。私たちがフィクションの領域で見ているものが、現実になりつつあります。目自体は世界を支配する人工知能を描いていますが、デザイン上の扉を見私は音楽家の家系ではありませんでした。小学生の頃、多くの友人がバンド活ると、そこには別の世界や別の空間への扉が走っていますよね。このアルバム動をしているのを見て、かっこいいなと思っていました。中学生の時にボーカでは、その扉の先にどんな旅が待っているのかを明らかにします。ルとして音楽活動を始めました。Blurの曲だけを演奏するバンドで、その後、ベースを習って「Seek and Destroys」や「Master Of Puppets」などのメタリ - 最近、米国防総省が未確認飛行物体の調査を強化することを発表しました。カの曲をカバーする特殊なメタルバンドを結成したのが不満でした。2000年初あるケースでは、米軍のパイロットが物理法則を無視したような物体を目撃頭、私は高校に入学しました。友人がヒップ・メタルからアシッド・ジャズまし、我々よりも100年から1000年進んだ技術を持っているのではないかと言わで、新しい影響を与えてくれました。それは、自分がどのように音楽を演奏れています。あくまでも推測ですが、人間が自然に作ったり生み出したりするし、聴くかについての見方を変え始めました。その後、いつも解散してしまうものは、私たちが思っている以上にユニークなものかもしれません。例えば、バンドに疲れてしまい、しばらく音楽活動を休止していました。その後、Oki 地球上のすべての音を聞き分けられる宇宙人がいるとしたら、その状況が事実 Koroという友人がハウスミュージックを紹介してくれました。あとは歴史のとであると証明された場合、あなたの音楽の作り方はどう変わるでしょうか？おりです。

生物や宇宙人は、地球の基本的な要素から、地球上のすべての音を知っていた Staffan Linzatti に違いないと想像しています。赤ちゃんの泣き声、楽しそうに笑う人の声、活動する人の声など、身の回りの人間の生活音を捉えて、それらを混ぜ合わせて SPANISH 調和させようと思います。人間の表情にはすべて振動がありますから。そして、世界の文明は取り残されたかもしれないが、この世界には美しい生命があ Llevas muchos años creando y componiendo música tecno. Con tu estilo y sonido るというメッセージを込めています。 característicos, ¿cuáles dirías que son tus influencias más importantes?

- 音楽界であなたが最も影響を受けた人は誰ですか？その理由は？ Los discos Axis siempre han sido una gran influencia, así como las películas, libros y videojuegos de ciencia ficción. La película “Aliens” (así como la primera película) es あまりにも多くの影響を受けたので、一人の名前を挙げると不公平になってし un ejemplo de una o varias películas que me causaron una gran impresión. La música, まいます。しかし、私は7人の名前に絞ろうとしています。ジョン・コルトレ la atmósfera y la construcción del mundo son realmente inspiradoras. Otro ejemplo es ーン、クインシー・ジョーンズ、プリンス、坂本龍一、マッドリブ、ジェフ・ el libro “Cita con Rama”. Arthur C. Clarke describe los acontecimientos del libro de ミルズ。彼らは皆、同じように一貫性、勤勉さ、探究心、発明心を持っていま una forma tan colorida y detallada que el lector forma parte de la historia. La lectura del した。 libro fue una experiencia reveladora que me inspiró a convertirme en un mejor narrador a través de los sonidos y las ideas. Me parece que ver una película o leer un libro que - 電子楽器を使用した最初のアジアのミュージシャンの一人は、1960年代のポ represente o contenga un mundo que se extienda más allá de los acontecimientos espe- ップロックバンド「テディ・ロビン＆ザ・プレイボーイズ」の中国人フロント cíficos que tienen lugar en la historia despierta mucho mi imaginación. Un buen ejemp- マン、テディ・ロビンであることがわかっています。 lo de ello es la película de Joseph Sargent “The Taking of Pelham 1 2 3”. Aunque toda しかし、テクノという芸術形態は、単に音だけではなく、ある種の冒険心や未 la película transcurre prácticamente en un vagón de metro, se tiene la sensación de que 来への展望も含んでいるのです。このような精神性を持ち、人々の創作活動に hay un mundo vivo más allá de lo que se ve en la pantalla. Esto no es exclusivo de las 影響を与えているインドネシア人はいますか？ películas, sino que también puede estar presente en la música. Naturalmente, también tomo muchas influencias de la música de diferentes estilos y Harry Roesliという人がいます。1970年から1980年にかけての彼の作品を聴く géneros, como el soul, la música disco, el jazz, la música electrónica, etc. Mi hermano と、ブルース、ロック、コンテンポラリー、少しのジャズの要素が含まれて Mathias siempre ha sido una gran fuente de inspiración para mí, tanto como DJ como いて、歌詞もエキセントリックで、とてもプログレッシブです。特に、「Ken en el estudio. Otro ejemplo sería Steve Reich y la Penguin Café Orchestra. La música Arok Album」と「Titik Api Album」ですね。 de ambos tiene una capacidad especial que hace volar la imaginación.

- アルバム「Uncovert」に収録されている曲の中で、コンセプトを最もよく表 ¿De dónde viene su relación con la música? ¿Tiene formación musical? しているのはどの曲でしょうか、またその理由を教えてください。 No tengo formación musical, pero mientras crecía siempre había música en nuestra このアルバムに収録されているすべての曲は、それぞれの世界を表現している casa. Mi hermano me introdujo en la música electrónica a una edad temprana. También と思います。しかし、私の意見では、このアルバムを最もよく表しているのは experimentaba con varios programas de música. Los programas parecían increíblemente この2曲だと思います。Uncovert」を聴けば、好奇心旺盛な雰囲気に包まれ、 avanzados y complicados, pero lo más importante es que eran divertidos de usar. Es- 「Dalang Antariksa」を聴けば、宇宙のすべてをコントロールするDalangやマ cuchar y ver lo que mi hermano creaba despertó mi interés de forma natural. Más tarde, スターマインドの音が聴こえてくるでしょう。 a una edad temprana, se compró un par de tocadiscos y empezó a coleccionar discos. Esto me abrió un nuevo mundo musical. - もし世界中のテクノプロデューサーがこのインタビューを読んでいるとしたら、あなたは彼らに何を伝えたいですか？ Cualquiera que conozca la música tecno, reconoce tu nombre, tu obra y tu sonido, pero ¿qué tipo de persona eres? ¿Cuál es tu carácter? テクノは、サウンドデザインやすべてのテクニックだけではなく、音楽そのものがメッセージを伝えなければならないことを忘れないでください。

142 The Escape Velocity No es una pregunta fácil de responder, ¡supongo que mi carácter tiene toda la culpa televisión de los años 80, la gente podía ser algo que deseaba. Hoy en día, ¿ve usted de ello! Soy curiosa pero tímida. Pienso y analizo mucho, para bien y para mal. En el indicadores o señales de que este tipo de experiencia podría ser una realidad? estudio, todas las facetas de mi carácter, de mí, se incorporan al proceso de escritura. Mi carácter o personalidad está incrustada en los temas y la paleta sonora de mi música. I Sí, no tengo dudas de que ese tipo de experiencia será posible en un futuro no muy leja- No creo que esto sea algo exclusivo de mí, sino más bien algo de lo que la mayoría de no. Los videojuegos son un buen ejemplo de lo mucho que han evolucionado las cosas. los músicos, si no todos, sacan provecho, consciente y/o inconscientemente. Por ejemplo, ahora es posible experimentar los juegos en un nivel de inmersión com- Puede sonar a tópico, pero la música que escribo, grabo y publico ayuda a compensar pletamente diferente a través de la realidad virtual, algo que parecía ciencia ficción hace mi parte introvertida y tímida. La música, con mis ideas, pensamientos y sonidos, llega sólo unas décadas. Conceptos como la “suspensión de la incredulidad” pueden quedar y se comunica con personas a las que, de otro modo, no habría tenido la posibilidad o la pronto completamente obsoletos a la hora de consumir entretenimiento si la propia ex- capacidad de llegar a un nivel personal. Por supuesto, saber quién es alguien de verdad periencia es indistinguible de la realidad. simplemente absorbiendo su arte es, a falta de una palabra mejor, casi imposible. Sin embargo, te ofrece una oportunidad, una instantánea de un momento en el tiempo y el No diría que la esencia de mi sonido pueda vincularse a ningún tipo de cosa específica. espacio en el que se puede establecer una conexión con la persona que está detrás de la Mi configuración es muy básica en cuanto a las herramientas que utilizo. Nada de lo música y construirla. que utilizo es en sí mismo insustituible. Enlazando con las preguntas anteriores, creo Staffan Linzatti que mi estado de ánimo, el viaje y la experiencia que he adquirido son más responsables Tiene una forma única de utilizar los armónicos en sus composiciones. ¿Hay algo de cómo suena y se siente mi música que cualquier otra cosa. Tampoco he tenido nunca que utilices en tu entorno de estudio que pueda atribuirse a cómo suena y se siente una formación musical. La exploración y la curiosidad siempre fueron el camino a se- tu música? guir, y creo que eso se puede escuchar y sentir en mi música.

No diría que la esencia de mi sonido pueda vincularse a ningún tipo de cosa específica. Podría decirse que el hecho de convertirse en otra persona o cosa permite verse a Mi configuración es muy básica en cuanto a las herramientas que utilizo. Nada de lo sí mismo a distancia con mayor claridad. Y que el hecho de tener esa autoevalu- que utilizo es en sí mismo insustituible. Enlazando con las preguntas anteriores, creo ación podría tener profundos efectos en la forma de tratar a los demás. ¿Cuáles que mi estado de ánimo, el viaje y la experiencia que he adquirido son más responsables cree que podrían ser los beneficios y las desventajas de tener tales opciones? de cómo suena y se siente mi música que cualquier otra cosa. Tampoco he tenido nunca una formación musical. La exploración y la curiosidad siempre fueron el camino a se- Ser capaz de ver tus propias acciones como un observador externo ciertamente te per- guir, y creo que eso se puede escuchar y sentir en mi música. mitiría examinar y escudriñar una situación o interacción particular y tu respuesta a ella en otro nivel. Sin embargo, creo que es importante tener siempre en cuenta el tiempo y ¿Cuál es el concepto de este álbum Silent Dreamers y por qué eligió este tema? los acontecimientos que conducen a esa situación o acción específica y verla como parte de un todo o de un viaje. Sólo entonces se puede evaluar o medir algo como una acción The Silent Dreamers describe nuestro futuro no muy lejano en el que la tecnología ha o interacción en su contexto. Desde el punto de vista de la empatía, experimentar lo que avanzado lo suficiente como para que la gente pueda, en última instancia, cambiar cómo otra persona ha pasado antes de una acción o interacción concreta nos ayudaría sin duda se concibe su realidad. Es una historia sobre un mundo o más bien varios mundos en a entender por qué la situación se desarrolló de la forma en que lo hizo. Así que sí, po- diferentes planos de la realidad. dría ayudarnos a entender nuestras diferentes acciones como humanos. En cuanto a las Un “Soñador Silencioso” es una persona que ya no está “despierta” en un sentido nor- desventajas, creo que un problema potencial podría ser esperar que todo el mundo actúe mal, ya no vive la vida como tú y yo hoy. En cambio, los “Soñadores Silenciosos” están siempre de forma racional o lógica en cualquier situación a la que uno se enfrente. No dormidos viviendo en una realidad creada por su propia imaginación, un mundo o mun- creo que esto sea posible o incluso algo que uno quiera. Eso eliminaría lo humano de la dos que se nutren de todos sus recuerdos y experiencias anteriores. Para nosotros sólo interacción humana. Otro peligro potencial podría ser sentir constantemente la necesi- están durmiendo, pero el “Soñador Silencioso” está muy vivo y despierto por dentro. dad de experimentar el mundo a través de los ojos o la mente de otra persona o cosa. La idea de la historia surgió gradualmente cuando Jeff se puso en contacto conmigo en Tus propias experiencias o perspectivas podrían no ser nunca suficientes y, como una relación con la Velocidad de Escape. Pensaba en que la realidad es subjetiva y objetiva droga, desarrollarías la necesidad de convertirte en algo o en alguien más, abandonando en cuanto a su percepción y experiencia, y en que, en el futuro, es muy probable que tu “yo”. podamos experimentar la(s) realidad(es) de diferentes maneras gracias a la tecnología. Algunas personas podrían utilizar esta tecnología como medio de refugio ante una vida La mente humana puede ser una herramienta poderosa, pero también es frágil y que se vuelve demasiado insoportable. Otros podrían utilizar la tecnología simplemente vulnerable. Si se le induce a creer en causas engañosas, una persona no sólo po- como medio de entretenimiento. La pandemia también tuvo un papel importante en el dría convertirse en participante de un plan que podría no ser en su mejor interés hecho de que decidiera explorar este tema por la forma en que ha cambiado nuestra vida o bienestar, sino que también podría pasar a dar forma a una agenda que otras actual y cómo nos afecta mentalmente. Nuestra realidad ha cambiado como resultado de personas podrían prescribir y así sucesivamente. ¿Qué opina sobre este tema de la la situación a la que nos enfrentamos. El potencial de la tecnología para mejorar y en- manipulación masiva? riquecer nuestra calidad de vida y existencia sólo está limitado por nuestra imaginación y creo que es natural pensar en cómo podría también ayudarnos a explorarnos como La manipulación de masas puede ser algo muy peligroso. No es un tema nuevo en ab- humanos tanto “extrovertidos” como “introvertidos”. soluto, pero es algo que es realmente importante reconocer en la era de la información. Nos bombardean constantemente con datos, noticias e información con distintos nive- Cuando crecí en los Estados Unidos en la década de los 70, hubo una película titu- les de veracidad o incluso de mentira. En algunos casos puede parecer inofensivo, un lada Westworld que me afectó profundamente. El singular concepto fue revisado pensamiento o una teoría torcida que no tiene ninguna importancia o repercusión en la hace unos años, y todavía se puede ver en Netflix. En resumen, una corporación vida cotidiana, y en otros casos es algo que afecta a todos los que nos rodean de forma había creado unas vacaciones similares a las de un parque de atracciones en las potencialmente perjudicial. Como la cantidad de información y datos a los que estamos que podías vivir tus sueños y fantasías y volver a la vida normal. Al igual que el expuestos y procesamos en nuestro día a día no hace más que aumentar, esto es sin duda programa de televisión, Fantasy Island, otro concepto similar y programa de algo de lo que tenemos que ser conscientes.

143 The Escape Velocity ¿Cómo se imagina el mundo dentro de 20 años? 2041? ¿Y la música? Naturellement, je tire aussi beaucoup d’influences de la musique de différents styles et genres comme la soul, le disco, le jazz, la musique électronique, etc. Mon frère Mathias Imagino un mundo en el que estamos muy avanzados en la resolución de los problemas a toujours été une grande source d’inspiration pour moi, que ce soit en tant que DJ ou más acuciantes del futuro de la humanidad, a través de la ciencia y la tecnología. Puede en studio. Un autre exemple serait Steve Reich ainsi que le Penguin Café Orchestra. que 20 años no parezca mucho tiempo, pero sin duda debería ser suficiente para realizar Leurs musiques ont toutes deux cette capacité particulière à enflammer votre imagina- los cambios necesarios para un futuro sociológico, ecológico y económico sostenible. tion. En lo que respecta a la música, creo que nuestra forma de experimentarla cambiará de tal manera que tendremos la posibilidad de estar más inmersos en ella. Un ejemplo D’où vient votre relation avec la musique ? Avez-vous une formation en musique ? podría ser la posibilidad de conectar directamente con la música o el artista a través de algún tipo de implante, estimulando potencialmente todos los sentidos del oyente. Hay Il y avait toujours de la musique dans notre maison. Mon frère m’a fait découvrir la mucho potencial que explorar aquí. Otro ejemplo podría ser la incorporación de aspec- musique électronique à un très jeune âge. Il expérimentait également divers logiciels tos visuales directamente en la experiencia musical, por ejemplo, a través de la trans- de musique. Les programmes semblaient incroyablement avancés et compliqués mais, misión directa a un implante o una interfaz a la que el oyente esté conectado. Podría ser surtout, ils étaient amusants à utiliser. Entendre et voir ce que mon frère créait a naturel- una forma de acercarse a la experiencia y al músico. Una puerta de entrada a la mente lement suscité mon intérêt. Il a ensuite acheté une paire de platines à un âge précoce et a del músico. commencé à collectionner des disques. Cela m’a ouvert un nouveau monde de musique.

En general, ¿qué es lo más importante que debemos destacar al escuchar este ál- Tous ceux qui connaissent la musique techno reconnaissent votre nom, votre tra- bum Silent Dreamers? vail et votre son, mais quel type de personne êtes-vous? Quel est votre caractère ?

El álbum describe un mundo futuro en el que es posible vivir tu vida en una realidad Il n’est pas facile de répondre à cette question - je suppose que mon caractère en est onírica. Una realidad escrita, proyectada, dirigida, vista y disfrutada exclusivamente por entièrement responsable ! Je suis à la fois curieux et timide. Je pense et j’analyse beau- el “soñador”. Recuéstate, relájate y comienza tu transición. Un nuevo mundo te espera coup, en bien comme en mal. Dans le studio, toutes les facettes de mon caractère, de soñador. moi-même, sont incorporées dans le processus d’écriture. Mon caractère ou ma person- nalité s’inscrient dans les thèmes et la palette sonore de ma musique. Je ne crois pas que Siendo alguien que crea para otras personas, ¿qué es lo que ve en la gente por lo ce soit quelque chose qui me soit exclusif, mais plutôt quelque chose que la plupart des que merece la pena crear? musiciens, sinon tous, puisent - consciemment et/ou inconsciemment. Cela peut sembler un peu cliché, mais la musique que j’écris, que j’enregistre et que El arte puede considerarse sin duda una forma de comunicación. El artista tiene la je diffuse aide à compenser la partie introvertie et timide de ma personne. La musique, posibilidad de invocar determinados sentimientos, emociones e ideas en sus obser- avec mes idées, mes pensées et mes sons, atteint et communique avec des personnes vadores u oyentes. A veces el tema o el mensaje se entiende y es claro, y otras veces es que je n’aurais peut-être pas eu la possibilité ou la capacité d’atteindre à un niveau per- malinterpretado por algunos. Creo que eso forma parte de la belleza. Al igual que en la sonnel. Bien sûr, savoir qui est vraiment quelqu’un en absorbant uniquement son art est, vida real, la comunicación no siempre es sencilla. Pero no importa. Lo más importante par manque d’un meilleur mot, presque impossible. Cependant, cela vous donne une es que se ha abierto la línea de comunicación entre el artista y el observador o el oyente. opportunité, un instantané d’un moment dans le temps et l’espace dans lequel un lien La música no es diferente. Poder llegar a la gente a través de mi música, sea quien sea o avec la personne derrière la musique peut être établi et construit. donde sea, es un pensamiento emocionante. Estoy agradecido y feliz de abrir esa línea de comunicación a quien quiera escuchar y formar parte de ella. Vous avez une façon unique d’utiliser les harmoniques dans vos compositions. Y a-t-il quelque chose que vous utilisez dans votre studio qui pourrait contribuer à la FRENCH façon dont votre musique sonne et se ressent ?

Vous créez et composez de la musique techno depuis de nombreuses années. Avec Je ne dirais pas que l’essence de mon son peut être liée à un type de chose spécifique. votre style et votre son si particuliers, quelles sont, selon vous, vos influences les Mon installation est très basique en termes d’outils que j’utilise. Rien de ce que j’utilise plus importantes ? n’est irremplaçable en soi. En lien avec les questions précédentes, je pense que mon état d’être, le voyage et l’expérience que j’ai acquis sont plus responsables de la façon dont Les disques d’Axis ont toujours été une grande influence pour moi, ainsi que les films ma musique sonne et se sent que n’importe quoi d’autre. Je n ́ai jamais eu de formation de science-fiction, les livres et les jeux vidéo. Le film “Aliens” (ainsi que le premier musicale non plus. L’exploration et la curiosité ont toujours été la voie à suivre, et je film) est un exemple de films qui m’ont vraiment fait une grande impression. La -mu pense que cela peut être entendu et ressenti dans ma musique. sique, l’atmosphère et la construction du monde sont vraiment inspirantes. Un autre exemple est le livre “Rendezvous avec Rama”. Arthur C. Clarke décrit les événements Quel est le concept de cet album ‘Silent Dreamers’ et pourquoi avez-vous choisi ce du livre d’une manière si colorée et détaillée que vous, en tant que lecteur, faites part- sujet ? ie de l’histoire. La lecture de ce livre a été une expérience révélatrice qui m’a incité à devenir un meilleur conteur d’histoires par les sons et les idées. Je trouve que regarder The Silent Dreamers décrit notre futur pas si lointain dans lequel la technologie a suff- un film ou lire un livre qui dépeint ou contient un monde qui va au-delà des événements isamment avancée pour que les gens puissent finalement changer la façon dont leur réal- spécifiques qui se déroulent dans l’histoire stimule beaucoup mon imagination. Un très ité est conçue. C’est l’histoire d’un monde ou plutôt de plusieurs mondes sur différents bon exemple de cela est le film de Joseph Sargent “The Taking of Pelham 1 2 3”. Même plans de réalité. si le film se déroule en grande partie dans un wagon de métro, on a l’impression qu’il Un “Rêveur silencieux” est une personne qui n’est plus “éveillée” au sens normal du existe un monde vivant au-delà de ce que l’on voit à l’écran. Ce n’est pas exclusif aux terme, qui ne vit plus comme vous et moi aujourd’hui. Au lieu de cela, les “Rêveurs films, cela peut aussi être présent dans la musique. Silencieux” sont endormis et vivent dans une réalité créée par leur propre imagination, un ou plusieurs mondes qui puisent dans tous leurs souvenirs et expériences antérieurs.

144 The Escape Velocity Pour nous, ils ne font que dormir, mais le “rêveur silencieux” est bien vivant et éveillé à Vos propres expériences ou perspectives pourraient ne jamais être suffisantes et, comme l’intérieur. une drogue, vous développez un besoin de devenir quelque chose ou quelqu’un d’autre L’idée de l’histoire est apparue progressivement lorsque Jeff m’a contacté au sujet d’Es- - en abandonnant votre “moi”. cape Velocity. Je pensais à la manière dont la réalité est à la fois subjective et objective dans la façon dont elle est perçue et vécue, et à la manière dont nous pourrons, à l’ave- L’esprit humain peut être un outil puissant, mais il est aussi fragile et vulnérable. nir, faire l’expérience de la ou des réalités de différentes manières grâce à la technol- Si elle est amenée à croire à des causes trompeuses, une personne peut non ogie. Certaines personnes pourraient utiliser cette technologie comme un moyen de se seulement participer à un plan qui n’est peut-être pas dans son intérêt ou son réfugier d’une vie devenue trop insupportable à vivre. D’autres pourraient utiliser la bien-être, mais aussi façonner un programme auquel d’autres personnes peuvent technologie comme un simple moyen de divertissement. La pandémie a également joué adhérer, et ainsi de suite. Que pensez-vous de la manipulation de masse ? un rôle important dans ma décision d’explorer ce sujet, dans la mesure où elle a changé notre façon de vivre et nous affecte mentalement. Notre réalité a changé en raison de La manipulation de masse peut être une chose très dangereuse. Ce n’est pas un sujet la situation à laquelle nous sommes confrontés. Le potentiel de la technologie pour nouveau, mais il est important de le reconnaître à l’ère de l’information. Nous sommes améliorer et enrichir notre qualité de vie et d’existence n’est limité que par notre imagi- constamment bombardés de données, de nouvelles et d’informations plus ou moins nation et je pense qu’il est naturel de penser à la façon dont elle pourrait également nous vraies, voire carrément mensongères. Dans certains cas, cela peut sembler inoffensif, aider à nous explorer en tant qu’humains, à la fois “extravertis” et “introvertis”. une pensée ou une théorie bancale qui n’est pas du tout importante ou qui n’a pas d’impact sur la vie quotidienne, et dans d’autres cas, quelque chose qui affecte tout le monde Lorsque j’ai grandi aux États-Unis dans les années 1970, j’ai été profondément autour de nous d’une manière potentiellement dangereuse. Comme la quantité d’in- marqué par un film intitulé Westworld. Ce concept unique a depuis été revisité il formations et de données auxquelles nous sommes exposés et que nous traitons dans y a quelques années, et on peut toujours le voir sur Netflix. En bref, une société notre vie quotidienne ne fait qu’augmenter, c’est certainement quelque chose dont nous avait créé des vacances ressemblant à un parc d’attractions où vous pouviez vivre devons être conscients. vos rêves et vos fantasmes et revenir à la vie normale. Comme dans l’émission de télévision Fantasy Island, un autre concept et programme télévisé similaire des an- Comment voyez-vous le monde dans 20 ans ? 2041 ? Qu’en est-il de la musique ? nées 1980, les gens pouvaient être ce qu’ils souhaitaient. Aujourd’hui, voyez-vous des indicateurs ou des signes que ce type d’expérience pourrait être une réalité ? J’imagine un monde où nous sommes en bonne voie pour résoudre les problèmes les plus urgents auxquels l’humanité est confrontée, grâce à la science et à la technologie. Oui, je n’ai aucun doute sur le fait que ce type d’expérience soit possible dans un ave- Vingt ans ne semblent peut-être pas être une longue période, mais cela devrait certaine- nir pas si lointain. Les jeux vidéo sont un bon exemple de l’évolution des choses. Par ment être suffisant pour apporter les changements nécessaires à un avenir sociologique, exemple, il est désormais possible de vivre des jeux à un niveau d’immersion com- écologique et économique durable. plètement différent grâce à la réalité virtuelle - ce qui relevait de la science-fiction il y a En ce qui concerne la musique, je pense que notre façon de vivre la musique va changer quelques décennies seulement. La réalité virtuelle existe depuis un certain temps déjà, de telle sorte que nous aurons la possibilité d’être plus immergés dans la musique. Par mais les expériences qu’elle permet de vivre aujourd’hui sont beaucoup plus avancées exemple, il sera possible de se connecter directement à la musique ou à l’artiste grâce à et immersives qu’à ses débuts. La réalité virtuelle existe depuis un certain temps déjà, une sorte d’implant, ce qui pourrait stimuler tous les sens de l’auditeur. Il y a beaucoup mais les expériences possibles avec la RV sont beaucoup plus avancées et immersives de potentiel à explorer ici. Un autre exemple pourrait être l’incorporation d’aspects qu’à ses débuts. Des concepts tels que la “suspension d’incrédulité” pourraient bientôt visuels directement dans l’expérience musicale, par exemple par le biais d’un flux direct être complètement obsolètes lorsqu’il s’agit de consommer du divertissement si l’ex- vers un implant ou une interface à laquelle l’auditeur est connecté. Cela pourrait être un périence elle-même est indiscernable de la réalité. moyen de se rapprocher de l’expérience et du musicien. Une porte d’entrée dans l’esprit du musicien. On pourrait dire que le fait de devenir quelqu’un ou quelque chose d’autre permet de se voir plus clairement à distance. Et qu’une telle mesure de soi pourrait avoir Globalement, quelle est la chose la plus importante que nous devrions noter en des effets profonds sur la façon dont nous nous traitons les uns les autres. Quels écoutant cet album Silent Dreamers? sont, selon vous, les avantages et les inconvénients de ces options ? L’album décrit un monde futur où il est possible de vivre sa vie dans une réalité de rêve. Être capable de voir vos propres actions en tant qu’observateur extérieur vous per- Une réalité écrite, jouée, dirigée, vue et appréciée exclusivement par le “rêveur”. Pen- mettrait certainement d’examiner et de scruter une situation ou une interaction par- chez-vous en arrière, détendez-vous et commencez votre transition. Un nouveau monde ticulière et votre réponse à celle-ci à un autre niveau. Cependant, je pense qu’il est vous attend, rêveur. important de toujours tenir compte du temps et des événements qui ont conduit à cette situation ou action spécifique et de la considérer comme faisant partie d’un tout ou Étant donné que vous créez pour d’autres personnes, que voyez-vous dans les gens d’un parcours. Ce n’est qu’alors qu’une action ou une interaction peut être évaluée ou qui méritent d’être créés ? mesurée dans son contexte. Sur le plan de l’empathie, le fait de vivre ce que quelqu’un d’autre a vécu avant une action ou une interaction particulière nous aiderait certaine- L’art peut certainement être considéré comme une forme de communication. L’artiste a ment à comprendre pourquoi la situation s’est déroulée de la sorte. Donc oui, cela pour- la possibilité d’invoquer certains sentiments, émotions et idées chez ses observateurs ou rait certainement nous aider à comprendre nos différentes actions en tant qu’humains. auditeurs. Parfois, le thème ou le message est compris et clair, et parfois mal interprété En ce qui concerne les inconvénients, je pense qu’un problème potentiel pourrait être par certains. Je pense que cela fait partie de la beauté de la chose. Comme dans la vie d’attendre de chacun qu’il agisse toujours de manière rationnelle ou logique dans toute réelle, la communication n’est pas toujours simple. Mais cela n’a pas d’importance. Le situation à laquelle il est confronté. Je ne pense pas que cela soit possible, ni même sou- plus important est que la ligne de communication entre l’artiste et l’observateur ou l’au- haitable. Cela supprimerait l’aspect humain de l’interaction humaine. Un autre danger diteur a été ouverte. La musique n’est pas différente. Pouvoir toucher les gens à travers potentiel pourrait être de ressentir constamment le besoin d’expérimenter le monde à ma musique, quels qu’ils soient et où qu’ils soient, est une idée passionnante. Je suis travers les yeux ou l’esprit de quelqu’un ou de quelque chose d’autre ́. reconnaissant et heureux d’ouvrir cette ligne de communication à tous ceux qui veulent l’écouter et en faire partie.

145 The Escape Velocity JAPANESE - あなたの曲では、ハーモニクスの使い方が独特ですね。あなたがスタジオで使用しているものの中で、あなたの音楽の響きや感じ方に影響を与えているも - あなたは長年にわたり、テクノミュージックの制作・作曲に携わってきましのはありますか？た。独特のスタイルとサウンドを持つあなたにとって、最も重要な影響を受けたものは何でしょうか？私のサウンドの本質が何か特定のタイプのものとリンクしているとは言えません。私のセットアップは、使用しているツールという意味では非常にベーシッ Axisレコードからは常に大きな影響を受けていますし、SF映画や本、ビデオゲクなものです。使っているもの自体には何の変哲もありません。前述の質問にームからも影響を受けています。映画「エイリアン」（第1作目も含む）は、関連しますが、私の音楽がどのように聞こえるか、どのように感じるかは、私私に大きな印象を与えた映画や作品の一例です。音楽、雰囲気、そして世界の状態、旅、そして得た経験が何よりも重要だと思います。私は音楽的なトレ観の構築には本当に感動しました。もうひとつの例は、「Rendezvous with ーニングを受けたことがありません。探究心と好奇心は常に前進する方法であ Rama」という本です。アーサー・C・クラークは、この本の中の出来事をとてり、それは私の音楽の中で聞いたり感じたりすることができると思います。もカラフルで詳細に描写していて、読者であるあなたも物語の一部になっているかのようです。この本を読んで目が覚め、音やアイデアを使ってより良いス - 今回のアルバム「Silent Dreamers」のコンセプトと、このテーマを選んだトーリーテラーになりたいと思うようになりました。物語の中で起こった特理由を教えてください。定の出来事を超えた世界が描かれている映画や本を読むと、私の想像力を大いにかきたててくれます。例えば、ジョセフ・サージェント監督の映画「The 『サイレント・ドリーマーズ』は、テクノロジーが十分に進歩し、人々が自分 Taking of Pelham 1 2 3」がそうです。全編が地下鉄の車内で展開されているたちの現実がどのように考えられているかを最終的に変えることができるようにもかかわらず、スクリーンの向こう側に生きた世界があるような気がするのになった、それほど遠くない未来を描いています。これは、現実の異なる平面です。これは映画に限らず、音楽にも言えることだと思います。上にある世界、あるいはむしろいくつかの世界についての物語です。もちろん私も、ソウル、ディスコ、ジャズ、エレクトロニック・ミュージック「サイレント・ドリーマー」とは、通常の意味での「目覚めている」状態ではなど、さまざまなスタイルやジャンルの音楽から多くの影響を受けています。なく、今日のあなたや私のような生活をしていない人のことです。サイレント兄のマティアスは、DJとしてもスタジオでも、いつも私に大きなインスピレードリーマーは、自分の想像力によって作られた現実の中で眠っているのです。ションを与えてくれています。また、スティーブ・ライヒやペンギン・カフ私たちにとってはただ眠っているだけですが、”サイレント・ドリーマー “ ェ・オーケストラもその一例です。彼らの音楽には、想像力をかきたてるようの内面はとても生き生きとしていて、目覚めているのです。な特別な力があります。この物語のアイデアは、ジェフから「Escape Velocity」についての相談を受けたときに、徐々に生まれてきました。私は、現実には主観的なものと客観的 - あなたと音楽との関係はどのようなものですか？また、音楽のバックグラウなものがあり、未来の私たちはテクノロジーを使ってさまざまな方法で現実をンドはありますか？体験できるようになるだろうと考えていました。ある人は、生きることに耐えられなくなった人生から逃れる手段として、このテクノロジーを利用するかも私には音楽のバックグラウンドはありませんが、子供の頃、家ではいつも音楽しれません。また、単に娯楽の手段として利用する人もいるでしょう。また、が流れていました。幼い頃、兄が私に電子音楽を教えてくれました。兄は、様パンデミックは、私たちの生活や精神面への影響を大きく変えたという点で々な音楽ソフトを試していました。プログラムは非常に高度で複雑に見えましも、このテーマを取り上げようと思った大きな要因となっています。私たちがたが、何よりも使っていて楽しかったのです。兄が作っているものを見たり聞直面している状況の結果、私たちの現実は変わりました。テクノロジーが私たいたりすると、自然と興味が湧いてきました。その後、兄はターンテーブルをちの生活の質や存在を向上させ、豊かにする可能性は、私たちの想像力によっ購入し、レコードを集めるようになりました。これにより、私には新しい音楽てのみ制限されており、「外向的」と「内向的」の両方の人間としての自分自の世界が広がったのです。身を探求するのにも役立つと考えるのは当然だと思います。

- テクノミュージックを知っている人なら、あなたの名前や作品、サウンドは - 1970年代にアメリカで育った私は、『ウエストワールド』という映画に深い誰でも知っていますが、あなたはどんな人ですか？あなたのキャラクターは何感銘を受けました。このユニークなコンセプトはその後、数年前に再演され、ですか？今でもNetflixで見ることができるものです。要するに、ある企業が、夢や空想を実現して普通の生活に戻れる遊園地のような休暇を作っていたのです。1980 この質問に答えるのは簡単ではありませんが、それは私の性格に問題があると年代に放送されたテレビ番組「Fantasy Island」のように、人々は希望する何思います。私は好奇心旺盛ですが、恥ずかしがり屋です。好奇心旺盛だけどシかになれるのです。現在、このような体験が現実になる可能性を示す指標や兆ャイで、良くも悪くも考えたり分析したりすることが多い。スタジオでは、私候はありますか？の性格や私自身のすべての面が、作曲のプロセスに組み込まれます。私の性格や個性は、私の音楽のテーマや音のパレットに組み込まれています。これは私そうですね、そう遠くない将来に、そのような体験が可能になると信じて疑いに限ったことではなく、すべてのミュージシャンが意識的に、あるいは無意識ません。テレビゲームはその良い例だと思います。例えば、数十年前にはSFの的に取り入れていることだと思います。ように思われていたバーチャルリアリティによって、これまでとはまったく異ありきたりに聞こえるかもしれませんが、私が作曲し、録音し、リリースするなるレベルの没入感でゲームを体験することができます。バーチャルリアリテ音楽は、私の内向的でシャイな部分を相殺してくれます。私のアイデア、思ィが登場してからかなりの時間が経過していますが、現在のVRで可能な体験考、サウンドを伴った音楽は、そうでなければ個人的なレベルで接触する可能は、初期の頃に比べてはるかに高度で没入感のあるものになっています。バー性や能力がなかったかもしれない人々に届き、コミュニケーションをとることチャルリアリティが登場してからかなりの時間が経ちましたが、現在のVRで可ができます。もちろん、純粋に芸術を吸収することでその人の本当の姿を知る能な体験は、初期の頃よりもはるかに進歩し、没入感が高まっています。ことは、言葉は悪いですがほとんど不可能です。しかし、音楽の背後にある人とのつながりを確立し、それに基づいて構築することができる機会、時空間の瞬間のスナップショットを提供してくれます。

146 The Escape Velocity - 誰かになりきることで、遠くの自分がよく見えるようになるとも言えます。このアルバムは、夢のような現実の中で人生を過ごすことが可能な未来の世界そして、そのような自己測定をすることによって、私たちがお互いにどのようを描いています。夢を見ている人だけが、脚本、キャスト、演出、視聴、そしに接するかに大きな影響を与える可能性があります。そのような選択肢を持つて楽しむことができる現実です。肩の力を抜いて、リラックスして、移行を始ことのメリットとデメリットは何だと思いますか？めましょう。新しい世界があなたの夢を待っています。

自分の行動を外部から見ることができれば、特定の状況や相互作用、そしてそ - 人のために創造する人として、人のどこに創造する価値があると思いますれに対する自分の反応を別の次元で検証し、精査することができるでしょう。か？しかし、私は、その状況や行動に至るまでの時間や出来事を常に考慮し、それを全体の一部、あるいは旅の一部として捉えることが重要だと考えています。アートは、間違いなくコミュニケーションの一形態と考えられます。アーティそうして初めて、行動や相互作用を文脈の中で評価・測定することができるのストは、見る人や聞く人に、ある種の感情や情緒、アイデアを呼び起こす可能です。共感的に言えば、ある行動や相互作用の前に誰かが経験したことを経験性を持っています。テーマやメッセージが理解されて明確になることもあれすることは、その状況がなぜそうなったのかを理解するのに役立つでしょう。ば、誤って解釈されることもあります。私はそれが美しさの一部だと思いまつまり、人間としての様々な行動を理解するのに役立つのです。デメリットとす。現実の世界と同じように、コミュニケーションは必ずしも一筋縄ではいきしては、どんな状況にあっても、誰もが常に合理的・論理的に行動することをません。しかし、それは問題ではありません。大切なのは、アーティストとそ期待してしまうことが挙げられると思います。これは可能なことではありませれを見る人、聞く人との間にコミュニケーションのラインが開かれたことでんし、人が望むことでもないと思います。それは、人間関係から人間を取り除す。音楽もそれと同じです。誰であれ、どこであれ、私の音楽を通して人々にくことになります。もうひとつの潜在的な危険性は、常に誰かの目や心を通し届くということは、とてもエキサイティングなことです。聴きたいと思う人、て世界を経験する必要があると感じることです。自分自身の経験や視点だけでその一部になりたいと思う人に、そのコミュニケーションラインを開くことがは十分ではなく、麻薬のように何かになりたい、誰かになりたいという欲求ができることに感謝し、喜んでいます。生まれ、「自分」を捨てることになるかもしれません。

- 人間の心は強力なツールであると同時に、壊れやすく脆弱なものでもあります。人を騙すような要素を信じるようになると、その人は自分の利益や福祉にならないかもしれない計画の参加者になるだけでなく、他の人が賛同するようなアジェンダを形成するようになるかもしれません。この「大衆操作」というテーマについて、どうお考えですか？

集団操作は非常に危険なものです。これは決して新しいテーマではありませんが、情報化時代には認識すべき重要なことです。私たちは、真実かどうか、あるいは全くの嘘かどうか、様々なレベルのデータやニュース、情報に常にさらされています。それは、日常生活には全く重要ではない、あるいは影響を与えない、無害な思想や理論のように見える場合もあれば、私たちの周りの人々に有害な影響を与える可能性のあるものもあります。私たちが日々の生活の中で接し、処理する情報やデータの量は増加の一途をたどっており、これは確かに私たちが気をつけなければならないことです。

- 20年後の世界をどのように想像しますか？2041? 音楽についてはどうでしょうか？

私は、人類の未来が直面している最も差し迫った問題を、科学技術によって解決しつつある世界を想像しています。20年というと長くないと思われるかもしれませんが、社会的、生態的、経済的に持続可能な未来のために必要な変化を起こすには十分な時間であるはずです。音楽に関して言えば、私たちが音楽を体験する方法が変わり、より音楽に没頭できるようになると思います。例えば、ある種のインプラントを通して音楽やアーティストに直接触れることができ、リスナーのあらゆる感覚を刺激する可能性があります。ここには多くの可能性が秘められています。もうひとつの例は、リスナーが接続しているインプラントやインターフェイスに直接ストリーミングすることで、音楽体験に視覚的な側面を直接取り入れることです。これは、音楽体験や音楽家に近づくための方法かもしれません。音楽家の心へのゲートウェイです。

- このアルバム『Silent Dreamers』を聴く上で、全体的に最も重要なことは何でしょうか？

Translation by DeepL Translate

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