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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: Jamie Lidell
03-11-05 Revista de Prensa  


(Publicado originalmente en Pitchfork)


Story by Mark Pytlik

According to some of my jaded European friends (the ones with four weeks vacation and an Easyjet airport within spitting distance-- bastards), the Sonar Festival has mutated over the years from a must-see event into a bit of a non-starter. After only one trip, I can understand how multiple evening/mornings at the Festival's airplane hanger for a venue might gnaw away at one's goodwill, but Canadian beggars can't be European choosers. As a North American who isn't fortunate enough to live in one of the continent's few Euro electronic artist stopover cities of choice, this three-day festival is basically like Christmas and a couple of birthdays, only with richer accents, better art, and way fresher bread.
Even discounting the Festival's unofficial periphery events-- of which the total of participating artists still ranks in the hundreds-- Sonar's program is overwhelming. For every artist you see, you will miss at least one other on your list. Augmented by art installations, video displays, film exhibits, a record fair, numerous booths, and podlike listening stations happy to dispense hourlong schoolings on everything from post-metal to reggaeton, the daytime stuff happens centrally, in and around the sparse white pavillion of the Raval district's Centre de Cultura Contemporˆnia. The nighttime stuff happens at the cavernous Fira Gran Via, which, no thanks to silly flourishes such as a blacklit bumper car attraction, feels like a superclub tacked onto a runway.

But the highlights, oh the highlights: Japanese duo World's End Girlfriend account for the best daytime set by some distance with a near-hour of swirling, drum-heavy psychedelia; Ada's wows with a set of measured, sugary 3 a.m. techno; 2ManyDJs usher in the morning with two hours of rushy pop; LCD Soundsystem capitalizes on conversion rates and gets 456 "Yeah"'s to the usual 273; De La Soul sneak attacks with special guest Kanye West; an increasingly confident M.I.A. kills it at 4 a.m. and then table-dances as Diplo does his pop <-> crunk <-> reggaeton sidestep; DJ/Rupture improvises with the Barcelona Symphony Orchestra; Miss Kittin drops an evening set that melts and a mid-morning set that freezes; Jeff Mills answers the question, "What do 40,000 possessed fax machines sound like on 11?"; Soft Pink Truth and pal Kevin Blechdom rip the spacetime fabric with depravity, huge swathes of noise and goblin sex grunts.

And then there's Jamie Lidell. Along with Ellen Allien, he is one of Sonar's breakout stars, and as such, his picture is plastered on promotional material everywhere. Pitchfork caught up with the UK laptopper-turned-singer the day after his could've-been-triumphant nighttime Sonar set was marred by near disastrous technicals. Luckily, despite the fact that he's had to field questions about his disappointing live performance ("scat" and "sub-Jamiroquai" are all you need to know) for nearly five hours, Lidell is in very high spirits indeed. Here he is on his soulful new album Multiply, his former career as a laptop artist, and what he took away from Some Kind Of Monster.

Pitchfork: To start, can you tell me when you first decided you wanted to do something like this? It's a different record for you.

Jamie Lidell: A lot of things triggered the creative process for me: it was partly living in Berlin, partly meeting a bunch of new musicians that had crazy talents that were really wide-ranging, having recording spaces that were really beautiful sounding, having Matthew Herbert calling me on the phone saying, "Jamie, you wanna fucking remix my track?"

That [remix of Matthew Herbert's "The Audience"] was a big turning point for me. Matthew gave me three days to turn around this remix and I just did it in a Motown style. going, "Shit, this is so much fun-- I can really get behind a track like that because it's so familiar-sounding." You don't have to worry so much about the track, you just concentrate on your performance. I fucking loved it, he loved it, and it was all just on. So I was like I've got to explore that, everything about Berlin and this new wave I've suddenly just discovered. It's almost as if it was there all along. Like all the good things in life, it's like, hang on a minute, I could've done this style years ago but I never thought to do it.

Pitchfork: I don't hear Berlin in this record at all.

Jamie Lidell: Do you not? Well, it's my Berlin I guess. I stopped going out and taking pills and I started hanging out and learning about flat eleven chords...

Pitchfork: Yeah. I guess I hear Detroit and Memphis like everyone else does, but not Berlin.

Lidell: No! They don't make many cars in Berlin do they? Not that I know of. Maybe Trabants?

Pitchfork: How long did this record actually take to finish? It's been five years since Muddlin Gear.

Lidell: It was long, drawn out, slow, epic, blah. It's a stop-start thing, right. I decided after doing the second Super_Collider album that I needed a break. I couldn't see any further than that. It was a really bizarre record for a lot of reasons-- emotionally, sonically. I was not in a good space in my life, emotionally particularly, so I needed to do something to recharge my batteries emotionally and musically. I took a break and I learnt software and programming a little bit, and that's how I designed my live machine, which I've been using for years. And now we're rocking out live and I've been doing that again and again and again-- learning and refining it. I made an instrument which I'm really happy about, because I always wanted to have a machine that did this so once I established it as my unique tool, it was like, now I'm going to master it like a guitar.

It was Cristian [Vogel, the other half of Super_Collider] that really taught me to look at machines like that, to look at them like instruments. In a different way, like how a guitarist would look at their guitar. A different understanding of technology that comes from looking at your tools in that way.

Pitchfork: By the same token, it's a very vocal-driven record, so you must have also had a sense that you wanted to explore that direction a little more...

Lidell: I wanted to create a contrast between what I've done with Cristian, which I'm really proud of and took a hell of a lot of energy and time to make something so unique-- it's really hard to make something that doesn't sound like everything else, you know? But for this, I just thought I'm going to set up a situation where I can really enjoy singing these songs. I'm going to make it so much fun to sing that I'm going to do these great vocal performances-- that was my challenge to myself. And not skimp and save on the arrangements either, but really go to town on them and try to make them really beautiful and varied tonally, so it was a lot to achieve that, but thanks to working with Mocky, my good friend who's down the road...

Pitchfork: I didn't know you were working with him!

Lidell: Yeah, he's been helping out a lot on this album. He was on stage with me last night, doing a lot of keys, guitars, bass-- he's a far superior player. I can play, but what's the point of playing if you've got a friend who's nailing it every time? We work really fast and share different worlds, but when those world collide, it's really interesting, in a different way than working with Cristian. So I think in a way this album's a byproduct of a much more community-based recording style and using the people I know.

Pitchfork: Your relationship with Cristian isn't over though.

Lidell: Oh, absolutely not--

Pitchfork: You'll do another Super_Collider record?

Lidell: Love to. It's really just a question of coming back with the big guns, doing something totally fucking crazy, as innovative and as mindblowing as we were doing in 1999 when we came out with Head On, which was a big wake-up call to a lot of people. We were really trying to rip people's heads off, and we didn't have much technology to do that, but now that we've got a lot of tools, we should able to do something really huge. We owe it to ourselves to find the time.

But as things go, I've been getting a lot of attention for this record, there's a lot of demands on me, I wanna do my next record...I'm not the kind of guy who likes to rush things through. I like to take my time and finish when I'm finished. And so, with Super_Collider, it's gonna take a while, because both Cristian and I are extreme perfectionists and we won't be just throwing out any old shit. I don't know when, but I really want it to happen.

Pitchfork: It's funny to hear you talking this way, because Multiply sounds so easy to me.

Lidell: You have to sit with the songs until they start to live. Or do things straight-up spontaneously-- like, "A Little Bit More" took me about four hours to finish, start to finish, the whole fucking track was done just like I do live; I set up a beat just like I do in the live show, add the lyrics that I wrote in thirty minutes-- I already had a topic in mind because I had this crazy experience with this girl who was trying to get close to me and it freaked me out because she was really close to another friend of mine, and I thought, "This is a story, I'm gonna make this into a song."

So it's weird how things are really stop-start in my creative process. I can't just turn it on-- it just happens kind of randomly and I've just got to ride it when it's good. Surf's up! It's like that...

Pitchfork: Warp has changed a lot over the last few years, and they've started to put out all sorts of different records-- were they receptive to this from the start?

Lidell: Umm, I'd say yes, but they were slightly hesitant and I was expecting that. What ought to be known, I think, is that it was designed as a double album. There was a DVD that I'd worked for a year on, which was the best of my live shows filmed from a lot of cameras and painstakingly created and edited by Pablo Fiasco, who's done an incredible job. Its ready to come out, but it's about finding an opportune moment. That was meant to be on the album to present a Jekyll & Hyde thing-- taking the same songs that are on the album and presenting them in the way that I do them live, which is like mutating them heavily and rupturing them internally and presenting them in these crazy freestyle forms, which I really love doing.

But you can't do that unless you've got a song, you know? So the two processes were beautifully allied and I wanted to reflect that. I thought it'd be nice for the artwork... everything was kind of tight in my head, but in the end it was going to be too hard to make that into a profitable release for Warp, so they were hesitant to go for it. Artistically, I got compromised-- quite heavily I'd say. But I think ultimately it was a good decision in this respect because the album stands alone.

Pitchfork: I really like the fact that it's a 10-track record.

Lidell: I didn't want to make it too long. I wanted to make an album that I wanted to put on myself and could listen to again and again. In the past I've done these records that are very in-depth. I love them and I'm very proud of them but I've always found it hard to listen to them again and again...they're very demanding.

Pitchfork: Whereas this is a summer record.

Lidell: Yes! Right on. That's it. I knew that I wanted it to be a summer release and I wanted to spread that good vibe. That's it, a song like "Good Vibrations"...

Pitchfork: Now it seems like there's a huge push from Warp on this record, and that maybe you've been bumped up a couple of notches in terms of your profile. Is that strange for you?

Lidell: It is, it is a little bit. You mentioned earlier that I've been on the scene for some years, so just that alone-- I've come back to the scene and it's suddenly blowing up in a way. It's kind of like ÔOhhhhhh shit, am I ready for this? Is that what I was heading for? Fuck!'

I don't know-- I just try to keep level-headed and enjoy it and take it with a pinch of salt. I watched the Metallica DVD recently, Some Kind Of Monster, and what really struck me was that you have to remain...you have to see what music is. When your relationships with people can break down cause of musical differences or artistic differences or ego problems-- it's such a shame man, it's such a fucking shame. People can rock together, people can do great things together, and that's what you love when you're working with characters and it's all going well. It's what you hate when you feel like someone's trying to outdo you or compete with you and battle you-- the artistic process becomes more of an effort than ever before. So I really wanted to maintain that bedroom philosophy to creating stuff.

I don't believe the hype; I think it's a great record because I put a lot of love into it. If people are feeling it, that's fantastic. I can't say that's a bad thing, you know, that's great, I'm really happy about that, but it is odd. I don't feel like I know what to say sometimes.

Pitchfork: I haven't seen the liner notes or the credits yet-- how collaborative a record was this?

Lidell: Well, it features a lot of musicians. Mocky is probably the most featured artist on these-- he played everything from Rhodes to electric guitar, acoustic guitar, bass, backup singing-- his invaluable sonic tapestry is on this record. There's this guitar player that I know who's usually known for his techno material, a guy called Bill Youngman, he's a great guy and an awesome musician. Not at all known but he ought to be, he's a mega-talent. Snax from Captain Comatose is playing keyboards on one track and singing on another. There's Gonzales of course...

Pitchfork: If you're in Berlin, it's a mandate. Gonzales has to be on at least a couple of tracks.

Lidell: What can I say! Incredible to work with...

Pitchfork: You're working with all the Canadian boys.

Lidell: Pablo Fiasco, the guy who's doing my visuals, is Canadian, too. I struck up something with a Canadian crew-- I don't know, it must be the Commonwealth that draws us together.

Pitchfork: Were you prepared at all for a reaction to the fact that it is a soul record and you're a white guy singing soul songs?

Lidell: Yeah. But I've done that since Super_Collider...

Pitchfork: But this is definitely more pronounced.

Lidell: Yeah. I can see that in retrospect but I guess I've always had such an identity crisis when it comes to other people's understanding of me. I don't feel it in myself but from an outsider's point of view, I can see they must be thinking, "Who the hell does this guy think he is?" But recently I've been thinking, okay, a white guy can't sing soul, but would a black person be made exempt from singing opera because it's not a tradition that belongs to them? It's the same kind of argument.

I don't know what the hell happened to make me get me so interested in [soul] and to get me feeling it so fucking hard, but the bottom line is that I really feel what I'm doing and I love it. Some people will probably see it as an ironic thing or a parody or I don't know, but I really don't think of it like that. I feel myself developing more and more of this voice, and...it's a mystery to me. Fundamentally, I just think because I feel it, it's alright.

Pitchfork: A lot of people want to label this as a throwback record, but I don't necessarily hear it that way-- there are some little programming twerks and modern elements that give it a current sound. "Newme", for example, couldn't have been made at any other time.

Lidell: Yeah. If you saw the amount of editing that I was doing on every track, you'd realize it's the product of computers. But I used electronics very delicately on the record, and I was determined not to glitch it out. I worked with Matthew Herbert and respect him hugely, and Matmos, those guys will take an acoustic sound and do something glitchy, immediately timestamping it and thus they're kind of exempt from the retro tag and all the baggage that goes with it, and who wants to be old, we want to be new-- but I thought, you know what, I want to make the air shimmer, I want to bring back some fucking great magic and making something that's glitchy and now isn't going to do that for this record, it's not gonna do it. I could do that but it's not right. I just thought, "I don't care, I really don't care about that right now." I do that in my live show like crazy, you know? It's not like I'm shy with technology. But it's a gimmick, and when I saw it as a gimmick for the first time in my head, I just thought I didn't need it.


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04-05-06_The Knife * Silent Shout
24-04-06_Isolee * Western Store
07-06-06_Bill Evans * in memorian
23-04-06_Lightning Bolt * Unedited interview
22-04-06_Dominique A * L'horizon
20-04-06_Sweet & Conceptual '80s... ha llovido tanto
19-04-06_Terrestrial Tones * Dead Drunk
11-04-06_Whitehouse * Asceticists
10-04-06_Prince vuelve a la cima con su nuevo disco
06-04-06_Rap's Immovable Object
09-04-06_A Bittersweet Melodic Imagination
02-04-06_Saturday night... * Cock Rock Disco
01-04-06_The distance runner * David Liebman
29-03-06_Tapes 'n Tapes
01-04-06_My Life in the Bush of Ghosts * Brian Eno/David Byrne
27-03-06_Coincidencias Improbables
02-04-06_Underground Resistance * Más allá de la resistencia
02-04-06_Who Is Morph the Cat?
24-03-06_A certain style
22-03-06_(Beastie) Boys on Film
19-03-06_El rostro joven de Sergio Mendes
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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