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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Interview * Matthew Herbert
01-09-06 Seleccionado por: karaoke kamikaze 

Matthew Herbert's media profile ebbs and flows. Some years he makes a more accessible song-based record like Bodily Functions and people take notice who wouldn't normally...
Interview by Mark Richardson

... other years he works on more experimental and highly politicized projects like his album about (and of) food, Plat du Jour, and his music doesn't really register beyond his core fanbase. He doesn't seem much bothered by this. As he told my by telephone from New York, where he had flown in to DJ and do some press for his upcoming release Scale, "In my work I want to tell a story, save lies, change the world, bring down the Tory government, end the American empire. And, of course, I'm going to fall on my ass and look stupid while doing that. I made a decision that if my music suffers as a result or people think I'm too serious or think I'm this or that, that's a price I'm willing to pay."

Herbert won't have to worry about such things in 2006. Scale is one of his best records and is also perhaps the most conventionally musical, with memorable tunes and fantastic arrangements. It pulls together in one place everything he has done well previously, including political expression, which is deftly woven into the fabric of the music. Scale touches on themes related to globalism and the pending energy crises, but you either have to listen carefully for those things or let the ideas sink in subliminally. As Herbert tells me below, the thornier content is concealed in some pretty surprising places.

Pitchfork: When did you get into town?

MH: Just two days ago. I had a DJ gig last night at the Canal Room, which I wasn't sure about since I looked on the internet and it said it was one of P. Diddy's favorite hangouts. That made me a bit nervous, but it turned out to be good.

Pitchfork: Was he around?

MH: [chuckles] No, he wasn't, thank goodness.

Pitchfork: I've had a chance to listen to the new record and I like it very much. Coming after Plat du Jour, this is obviously another big change. When you first get an idea for a record, how fully formed an idea do you have of what it's going to be? What was in your mind at the beginning of thinking about Scale?

MH: I had quite a clear vision. What I like about how I work is that I followed that vision through to its logical conclusion, and the end result came out completely differently from what I meant to start out with. But because the steps I took were logical, I'm OK with that. With Plat du Jour, I was trying to use music to do something different. It was a process record, trying to use every conceivable way I could to get the point across. It was like providing different keys to a locked door or something. With this record, I really wanted to just sit down and write songs and not be hindered by rules that I set myself. The politics is still there; it's just done in a different way.

Pitchfork: Was there something that spurred you on to make a more conventionally musical record?

MH: I always talk about my ambition with music, and it's to sort of seduce people into listening to sounds they wouldn't normally listen to or want to hear. And in this way, I wanted to make a record that was more seductive than I've done in the past, and to give myself melodic or harmonic freedom I didn't have with Plat du Jour. No matter how much I tried or how much experience I've got, you know-- two pieces of bread, they're not the most melodic of instruments.

Pitchfork: Did working on [Roisin Murphy's 2005 album] Ruby Blue have anything to do with it? Did that give you a taste of pop music?

MH: It did, I guess. The thing it really gave me a taste of was the technical aspect. Because with Ruby Blue, I really had to make the record sound a bit poppier and, just technically, I had to record the horns properly and just move away from that DIY place I started from. And because me and Rosie [Murphy] wanted to record and mix the record in just one room, I invested in the studio and I did some research on equipment. Technically, I've certainly gone up a level, and I know just how I like to mix a record.

Pitchfork: Scale feels like an amalgamation of past records and an integration of different ideas. The orchestrations are similar to the big band record, you have pop elements, and also sample collage stuff on the second half. Were you conscious of that as you were going, of bringing together ideas that were more isolated on earlier records?

MH: Yeah, absolutely. And there's one thing that's very important to me as well-- there is continuity through these ideas. One thing I'm quite self-conscious of is that I don't want anyone to view these ideas as novelties or one-offs. For example, the issue of food is still very important to me and I actually used-- which is very rare for me-- some [Plat du Jour] samples again on this record. So it's important that it relate to the past records, but also important to me that it's moved on. One thing that I'm quite proud of with this record is how far away it is from the first record I did, 100lbs. Yet, if you listen to them in sequence, there is logic that follows through.

Pitchfork: The orchestrations on Scale, the strings and the horns, sometimes I'm listening I'm reminded of big band music from the 1940s, other times I'm reminded of something from the 70s, like a Philly Soul record. What do you think about referencing in your compositions? I know with your sampling there are all sorts of referencing happening outside of music. But are there historical references happening inside of the music as well?

MH: There's really not. I'd say 100% not, if that's acceptable. I find that very not useful in music. The problem is, of course, that it still sounds like something, and there's so much music out there, it'll always sound like something.

What you're trying to do with pop music is make something sound familiar and friendly, even on the first listen. I don't want to be disingenuous-- I like the idea of disco and I have some moments on the record that look in that direction. But that has much more to do with the nostalgia I have for the craft, and the idea that you make a pop record with 70 people and they all know how to play their instruments beautifully, with great microphones and all that. If you look at Quincy Jones, for example, he is bringing a very well orchestrated jazz aesthetic to pop music and that's something I find appealing in this world where so much is disposable, where there is no story, no depth to the performance.

Pitchfork: You don't often hear on independent records this kind of orchestration. Are there things you wish you could do that aren't financially feasible?

MH: The biggest restraint is time. The whole album was recorded in a day so we had the big band section in the morning and the string section and the woodwinds, tuned percussion, and French horns in the afternoon.

Pitchfork: That was done in one day?

MH: Yeah, that's what I mean about professionalism and craft. If you stood up in front of 50 people-- some of them I've worked with before but some of them don't know I am-- they don't really give a shit, but they're there to do this thing as best as possible in the required time. [With an orchestra], if you've booked them for noon, they'll just start packing up their equipment [at that time]-- even halfway through a piece of music. But, conversely, they'll give their absolute attention and they'll play the piece through first time almost perfectly. There is almost no chance for improvisation in that setting-- changing a chord or what have you-- so we have to be very, very organized. We have to construct everything in great detail before we get there, so we can record 12 or 13 pieces of music in one day.

Pitchfork: Are you comfortable with the idea that a lot of people only get part of the picture from your music? If they're not aware of the political context, but enjoy it just as sound? That it works on different levels for different people?

MH: This record I'm definitely happy about that. For example, I don't really want to go into specifics at the point, but [the record has] the sound of 12 coffins closing from the inside, and unless you're buried alive, it's a sound you're never going to hear. There are a dozen different types of cars. There are zoo animals playing percussion. There are all different types of things in there. In a way, with this record, what I wanted to do was make a record and not really tell those people what those things are. Clearly, there is a precedent in my work with thoughts going into sound and where they come from, but with this record I wanted to make them guess if they wanted to or ignore them if they wanted to. I like the idea of being at a dinner party in 20 years and having someone say that they like this piece or what have you, and I say, "Well, actually, that song is about death and it's actually made from coffins," even though it sounds like a feel-good piece.

Pitchfork: So you think it's possible that the content is in there even if someone doesn't know the details of it?

MH: I absolutely think so. I have a confession to make-- I saw your review of Plat du Jour and I was kind of a bit taken aback by it, actually. Just because you kind of deliberately tried to separate the music from the content. And I think that, intellectually, that's a valid position to take, but I just felt a bit cheated because I spent three years trying desperately to fuse those things together so the music would sound different, so you'd have to listen to music in a different way. In that sense, with this record, I don't really mind how people take it. I really minded how people took the last record, because I tried my very hardest to eliminate "me" as an artist and make the music a forum for the stories. What was sad is that no one really talked about the stories in there. Not one person asked me or looked into Stacey Lawton, a person possibly murdered by George Bush. Maybe that's a failure on my part. But with this one, I really don't mind if people don't get it. It's really all there.

Pitchfork: Where does [your website name] "magic and accident" come from?

MH: It's Don Delillo, from Underworld, he's talking about a baseball game. And it's something like 20,000 people at a baseball game, waiting for something to happen between magic and accident. It's that space in between where something "other" comes through.

Pitchfork: The word "magic" makes me think of mystery. Sometimes your music has mystery in it; I think this album does. But sometimes it seems like you value transparency more than mystery. Where the process-- what goes into it-- is really important for people to know. I read an interview with David Lynch where he said that he would never want to know how the magician does his tricks, that it ruins it for him. Can you speak to that a bit, how mystery plays into your work?

MH: I came out of an electronic music scene that based all its music on software. It was a real boys thing, a real testosterone thing-- software and the relationship between music and the software-- to the point where it was like a closely guarded secret. People like Aphex Twin-- he built this whole myth about himself in the very beginning that he made his own synthesizers, which wasn't true at all. And it was this really big thing for a while. I didn't like taking photos in the studio; I sort of inherited this position. And then I realized it was absolute rubbish. It's what you do, not what you do it with. So I started telling people what I did and how I did it. And no one really gave a shit, actually. It was quite funny. But I think there is a real problem in our world in terms of what we can see and where it comes from.

Pitchfork: It seems like you must have a magical or mystical conception of sound, that there might be something transmitted through sound even if people don't know what it is.

MH: I'm a massive believer in that. I think people are complacent about sound, because we're so limited by the textures and timbres we hear in music, but in our everyday life we hear the most incredible things. We've made a distinction between functional and musical and yet for me there is no distinction-- just what you choose to listen to at any given moment. I don't even think it's necessarily mystical. That's part of what Scale is about, and the [sounds] in this record are sounds you hear all the time. For example, some of the bass lines are certain types of cars turning over. And some of the horns. And these are all cars that have names that use nature to sell them, like a Jeep Cherokee. Obviously a car is named after something that's perceived to be more "at one with nature." So if you have a Jeep Cherokee you might have a moment where you say, "OK, that's my horn." And I've tried not to disguise the sounds; I've tried to let them exist in roughly the pitch that they're recorded to enable them that way in, even if it's not on a conscious level.

Pitchfork: As a music fan, do you find yourself interested in process, as far as the music you listen to and how it's made?

MH: I am. I tend to take things at face value. I remember hearing Pet Sounds, that box set. What was amazing, a great tribute to Brian Wilson, I hadn't really clocked that it was four bassoons and an organ at the beginning of "Good Vibrations". It was a very strange arrangement. I think I have a particular logic of my own that has to do with sound and sampling sound, and there isn't a great deal of music out there in that field. Whereas, harmonically and melodically, there's loads.

Pitchfork: There was a track written about on Pitchfork recently, "Something Isn't Right", the first track on Scale, and the writer, Mark Pytlik, said that you could tell in a few moments it was a Herbert track. And I think that's true; despite how different your records sound from each other, there is something there, a thread through them. I know that at various times you've talked about music as a way of getting away from ego, but I do feel like there is something you can't get away from. I'm not sure exactly what it is; to me it seems like a rhythmic sensibility that informs your work, a swing that sound like Herbert. Are you aware that a part of yourself is in there, regardless of the materials you're working with?

MH: I'm not. I'm really not. I know I have patterns and I've always tried hard to avoid them. There are definitely certain things in my music, if I'm looking back, "Well, that was a period where I was experimenting with a certain kind of chord structure or a certain kind of sound." I've tried really hard, but I'd be hard pressed to tell you what that sound, what that tangible sound of "me" is. I think rhythm is, when you talk about rhythmic sensibility, quite perceptive in that I like to have at least one thing that is at least common or familiar to the audience. Other than rhythm, the only thing I could say is that I take a great deal of pride in every single sound I use. I'm always making sure that I'm not using a pre-set or something that everyone else has done. I try to be original in every piece of music I do, and of course I probably fail every time.

Pitchfork: Let me ask you-- that moment in "Something Isn't Right" where he sings, "Do you re-mem-ber?" First time I heard that it reminded me of "September" by Earth Wind & Fire. I was sitting with my wife and I asked her, Do you think that's a direct reference to that song, or is it just a few notes that sound similar?

MH: There is a very slight reference there. It's a reference to the 11th of September because that's what the Earth Wind & Fire tune was called. I almost had it "Do you remember? The 11th of September?" But there was no way I could possibly put that in.

Pitchfork: So that's the kind of reference you're talking about, where you embed those kinds of things in the music.

MH: Exactly. And the record's full of them in different places. It's kind of like, trying to use every weapon in your arsenal to point people in a certain direction.

First published at Pitchfork


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14-08-06_Nitsa is ONCE ;-)
16-03-06_Ariel Pink | José Manuel Costa
15-03-06_José Ángel | 'Madre, soy cristiano homosexual'
15-03-06_Devo 2.0, "Devo 2.0"
31-05-07_Miles Davis, Romantic Hero
25-09-07_ Syd Barret, diamante frágil
14-03-06_KK.Null/Chris Watson/Z'ev
09-03-06_Polysics | Now's the Time
04-03-06_Looking for Pirates on the Inside's | EXPRESS (EXP)
28-02-06_The devastations / José Manuel Costa
28-02-06_Edan / The beauty and the beat / José Manuel Costa
23-02-06_Stereo Total / José Manuel Costa
02-03-06_Prince: Black Sweat / hot single from “3121”
14-02-06_Prefuse 73
13-02-06_Angie Reed / José Manuel Costa
08-02-06_Space Disco
07-02-06_Bonnie “Prince” Billy & Tortoise / José Manuel Costa
03-02-06_Judith Juillerat / José Manuel Costa
30-01-06_Black Eyed Peas + Jack Johnson
29-01-06_Alex Under, la seducción del « no estilo » / José Manuel Costa
27-01-06_Bye Mego, Hello!
25-01-06_West Poses As Jesus for Rolling Stone
26-06-08_ Cachicamo with Caspa and Leiko the Dog of the Fifth Dimension: "Imagine"[actualizado 10_06_'08]
26-01-06_Crónica del olvido
23-01-06_Richie Hawtin / DE9: Transitions
23-01-06_Sonic Youth / SYR6: Koncertas Stan Brakhage
23-01-06_DJ Shadow / Funky Skunk
20-01-06_'Super soul', con Wilson Pickett: marcha negra para oídos blancos
20-01-06_The 15 Worst Releases of 2005
20-01-06_The Sexiest Sex Machine
10-09-06_Death from Above 1979 / Lucía Maldonado
18-01-06_Inocente cuando sueñas / José Manuel Costa
17-01-06_De-Bug List / José Manuel Costa
16-01-06_Ryoji Ikeda
16-01-06_Seu Jorge
16-01-06_Interview: David Sylvian
16-01-06_Interview: Dizzee Rascal
09-01-06_Una selección musical de José Manuel Costa¡!¡!
06-01-06_T. Rex
04-01-06_Kraftwer minimun-maximun
25-12-05_Grabba Grabba Night
14-08-06_Tiga / Sexor
12-12-05_Mark Stewart / Kiss The Future
12-12-05_Interview: Sonic Youth
03-12-05_Música en la red: ¿Piratas o libres?
02-12-05_Humbert Humbert
02-12-05_EL MUSAC: Concierto inaugural del Purple Weekend 2005
24-11-05_Interview with Lawrence "Butch" Morris
23-11-05_Soborna, que algo queda
20-11-05_Poseído por una visión
12-11-05_Cristian Vogel
11-11-05_OBSERVATORI 2005
11-11-05_Por el nombre muere el "indie"
03-11-05_Interview: Chris Cunnigham
03-11-05_Interview: Jamie Lidell
05-11-05_Jackson & His Computer Band
26-10-05_Banalidad vestida de arte
03-11-05_Black Dice
14-08-06_Experimentaclub / J.G Thirlwell
09-10-05_Llorones sin causa
09-10-05_Las reliquias del bardo
03-10-05_TSN vs. BM&RL
03-10-05_Luomo / vocalcity
03-10-05_Tujiko Noriko / Blurred in my mirror Room 40.
19-07-05_Antony and the johnsons » I'm a bird now.
10-06-05_M.I.A. » Arular
10-06-05_Mu » Out of Breach
05-06-05_Tom Vek » We have sound
08-06-05_Namosh » Cold Cream



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