• 2009-02-03

    歌剧美声和拉丁流行的混合 - [主流之音]

    http://otho.douban.com/lpic/s3579580.jpg

    艺人:Placido Domingo
    专辑:《De Mi Alma Latina》(1994)
    厂牌:EMI
    评级:★★★☆

    专辑试听

      虽然多明戈以他的世界三大男高音的身份而闻名海外,但是这并不妨碍他在录制古典唱段之余再录制一些其他类别的歌曲。这或许是出于爱好,或许是出于对成天的古典音乐的一种厌倦(不过事实上似乎很少有古典乐手或者歌手会对古典音乐感到厌弃),不过更多时候恐怕还是对唱片销量的追求,利益仍然是最大的目的。但是这并非总是会和艺术的道路相冲突而造成两者舍其一的结果。就这样,一张张脱离古典音乐范围的优质周边专辑就诞生了。

      《De Mi Alma Latina》的诞生也同样是如此。对于这张英文译名为“From My Latin Soul”的专辑,有必要做一个提示,那就是多明戈的西班牙人的身份。当了解了这一个身份背景之后,就不会奇怪为什么多明戈会推出这么一张西班牙/拉美歌曲的专辑了,一切都归结于他的那个“Latin Soul”。哪有西班牙人不喜欢自己的土特产——西班牙音乐以及拉丁音乐的道理呢。

      既然这次玩上了拉丁歌曲,音乐中自然少不了拉丁音乐的那些热情,拉丁风味的钢琴、打击乐器等都为这张专辑稍微增添了一些惯常的古典音乐所没有的味道。但是这些元素无论是用之前还是现在的眼光来看,都不过是点缀而已。虽然多明戈这次弄上了不同的风味,但是要知道他的标志唱法还是古典唱法,所以这张专辑仍然不可避免的被贴上古典的标签,那些昔时流行歌曲不管是用什么唱法来演绎,但是这张专辑中却全部换成了高雅的“多明戈”美声唱法。就这一点来说,这张专辑对于那些喜欢歌剧的古典乐迷多少显得亲切了些,不至于太难接受。但是即使在这样的处理下,这些曲子也仍然显得十分的流行化。

      而在编曲制作上,也显得颇为复古。那种老式歌曲的精致弦乐充斥着整张专辑之中,这使得歌曲的复古味道更为浓郁。不过本身这些歌曲就是那个时代的产物,充斥着老式情调也并不为怪。在这选曲上面,倒是比较符合多明戈的平素时的风格,专辑的选曲还是偏向典雅优美的方向,而非那些热情似火的西班牙/拉丁音乐。应当说这些经典的老歌的质量绝对不逊于平素听的那些欧美老歌,仍然可以算作是一张让人喜爱的流行专辑。

      多明戈的这张专辑的针对市场倒是是针对流行大众还是古典听众,就不得而知了。虽然多明戈的美声还是让音乐不至于完全偏向惯常的流行化,但是这并不能够阻挡专辑中的那些经典的流行作品散发出自身的流行气质。只是这种夹杂了美声的感觉为专辑徒增的高雅难免会稍嫌不够抒情,太过于严肃,而这一点是那些当下的老歌所不具有的。这对于一些人来说,难免会有些不习惯。但这张专辑的优美仍然不容置疑。

  • 2009-01-25

    【视频】John Cage - Dream - [古典回眸]

    印象派风味。这首曲子本来是写给钢琴的,而在此处被改编成打击乐演奏。

  • 2009-01-25

    【视频】Stockhausen - Helicopter String Quartet - [古典回眸]

    一群疯子,我只能这么说。有点新鲜感,不过这东西偶尔看看就够了

  • 2009-01-25

    【视频】Stockhausen - kontakte - [古典回眸]

    纯粹的实验音乐,有兴趣的可以蛮看看

  • 2009-01-24

    【转】再读施托克豪森与年轻人 - [电音志]

    http://www.timesonline.co.uk/multimedia/archive/00252/stock_385x185_252293q.jpg

    原载:http://jove.prohosting.com/yuer16/artist/stockha.htm

    一九九五年,英国 BBC 的 Radio 3 先让电子音乐先驱--德国的施托克豪森Karlheinz Stockhausen 听几个年轻的英国流行电子音乐家的作品,然後再到德国访问他,请他谈对这些音乐家的看法。这整个谈话纪录,包括这几个晚辈对大师教训的回应,随後由英国的 The Wire 音乐杂志在九五年十一月号刊出。由於这项「交流」非常有创意,极为难得;其中触及的问题不但尖锐,值得我们深省,而且语气令人发噱,所以特在此转载全文。(见此文最下面的大段英文即是)
       
    文中,大师说现在流行电子音乐中反覆部份 (repetition)太多,像一个讲话结巴的人,总说不出要讲的话。又说别把音乐当妓女,不应该向市场妥协、不该为某种目的而创作等等。从这些地方可以看到大师对音乐创作的严谨态度,对音乐艺术的认真。另一方面他像大夫开处方对症下药似的分别给每个年轻人推荐他自己的作品,又让人觉得十分有趣。我们同时也看到 Stockhausen 的过份自信,自大;而这点恰好可让狂妄及才华都有过之无不及的痞子 Aphex Twin 来制他。Stockhausen 对当下学院以外蓬勃的音乐发展一无所知,并不令人意外;这只不过是「学院派」的定义之一罢了。反过来,从年轻音乐家的话中也可看出时下搞电子舞曲的人对历史,甚至只是三十年前的近代史,也是同样无知。但他们能在没有历史及理论背景的情况下,闯出自己的路子,也是最难得的地方。光说器材吧,在电子音乐制作上器材是先决条件,它的重要性或说它的缺乏,一般人可能不了解。在一九五0、六0、七0年代,也就是 Stockhausen 活跃的时代,电子音乐器材只有大的研究机构或是电台撑腰的电子音乐实验室才有,全世界总共也只有几个这样的地方。没有特权的一般人是别想碰到的(就算碰到也不会用)。随著电子乐器的量产化、廉价化和普及化,市井小民□到了电子音乐无限可能性的甜头。

    之後的电子摇滚,新世纪音乐,techno, electronica 等各种流行电子音乐的爆发,好像显示了人民战胜了霸权,他们的成绩超过了少数的菁英。而其中最有豪气的要算那些禀著「从卧室到全世界」(from bedroom to the world) 理念来创作的 techno 音乐家。这个意义重大的权力转移,正好与个人电脑带来的知识权力革命同时平行发展。

    文章後来,这几个年轻人回过头来教训大师也挺好玩儿。这些年轻音乐家的回答中也有答得非常好的,把重要问题澄清的。例如脑筋总是很清楚冷静的 Robin Rimbaud 把音乐反覆的精神上的意义就表达得很好。这个问题是 Stockhausen 最大的盲点。stkhusn2.jpg (6819 bytes)不过,Rimbaud 说的还不完整。Stockhausen 作为一个自称仔细研究过世界音乐的作曲家,他甚至不了解非洲音乐,印度音乐,印尼音乐,泰国音乐等等音乐传统中藉反覆,也就是 cycles, repetition, ostinato, 或是今天惯称的 loops,达到一种精神上的 trance 境界的再古老不过的基本音乐手法。这是不可原谅的无知。

    看这篇文章,不只是看两边对骂,也让我们想到整个前卫艺术史(一般的艺术史也一样)发展的永恒规律:最前卫的新东西不被大众接受(说什麽听不懂看不懂之类的);数十年後,那些老前卫玩意却被翻出来变成当下最时髦的流行。而这个时间落差总要几十年或半个世纪或更久。随便取些例子:Stravinsky 的春之祭当年在巴黎造成暴动,而现在已是古典音乐的流行经典。当今在地下流行的日本噪音是本世纪初许多音乐先知的理论预言之实践。时下孩子们最热衷的 DJ-ing 玩唱片手法,实际上只是 1950 年左右法国具象音乐家如 Pierre Henry 等人用的基本作曲法;更近一些,可说只是 1980 年代美国的Christian Marclay 虐待唱片的前卫艺术的大众化、流行化、街坊化、排行榜化。目前英美日等国流行的电子音乐拼贴,也就是 1950, 1960 年代 Cage, Stockhausen 等搞的前卫音乐的一部份手法的普及化。现在学院派里的正统现代作曲法--十二音音列手法只是世纪初的一种作曲法死胡同的时代错乱式的延续。馀类推…

    很多这些发展其实只是「量」的极大变化,而鲜少「质」的变化。也有很多所谓後现代主义的支持者会坚持这个量变就是质变;当然,也对。就在大伙儿正在比著:我比你更前卫,我比你更暴力,我比你更噪音,我比你更小声,我比你更本土,我比你更粪便,我比你更黑暗,我比你更哥德的时候,历史的如来佛正在他的掌心看著这些笼子里勤奋地蹬著小铁圈的小白鼠呢。小白鼠似乎每一个拍子,每个十六小节,每个反覆,每个loop 都在很费劲的执行著…

    到底现在还有没有真正新的东西?那要看我们的耳力了。睁开咱们的耳朵吧…听著过去,听著现在,听著未来!
     

    Earlier this year, Radio 3 sent a package of tapes to
    Karlheinz Stockhausen. The tapes contained music by
    Aphex Twin, Plasticman, Scanner and Daniel Pemberton.
    Then in August, the station's reporter Dick Witts travelled
    to Salzburg to meet Stockhausen and ask him for his
    opinion on the music of these four "Technocrats". But first,
    they talked about the German composer's own youthful
    experiments in electronic synthesis...



    DW: When you started as a composer, how different were
    the conditions from today?

    KS: I studied music as a pianist, and learning all the
    traditional techniques of composing, in an institution called
    Stadtliche Hofschule fur Musik. We had about ten
    disciplines to study: choir, orchestra, conducting, piano was
    my main instrument, then musicology, harmony and
    counterpoint. I wrote several works in traditional styles, but
    also two works, so-called 'free compositions', one for
    orchestra and alto voice, a work which is still available on
    CD called the Drei Lieder. I started composing at the age of
    20, 1948, the first time I considered my music to be of
    some general importance, and they are available, like the
    violin sonatina...

    Why did you consider those works a beginning?

    Because everything that could be studied with the
    professors at the conservatory, the other students also were
    able to write. So there was nothing special to write a fugue
    or to write a piece in the style of Hindemith. But it was
    special to write something different from all other
    composers. I wrote, for example a small theatre piece,
    Burleska, together with two colleagues. We divided the
    piece into three parts. My part did not sound as the
    newspapers said [of the other two parts] like Orff, or like
    Hindemith, but different. So I was very proud that they said
    my section did not sound 'like' something.

    I Composed Kreuzspiel, or Crossplay [1951], and I knew
    when I wrote it that it would sound like nothing else in the
    world. People were quite upset when they heard it for the
    first time at the national summer courses for contemporary
    music in Darmstadt, where I conducted the piece; it was
    violently interrupted by the public. And since then I have
    composed works from one to the next, always waiting until
    I've found something that I had never imagined before, or
    that sounded like anything existing.

    Can you hear a line, a unity, in everything you've written,
    from Kreuzspiel to Licht?

    Many lines; depends on which level. For example, space
    exploration in music is one line, then sound- and
    word-relationship is another line, from the beginning until
    today, then the discovery of polyphony in many-layered
    composition is another line ; and that is what is essential, the
    discovery of sounds which are derived from formulas for
    particular compositions. That goes from the very first
    electronic studies until my very last works which I have just
    finished, which I call electronic music with sound-scenes for
    Friday From Light, which is two hours 25 minutes of music
    which I work on in the electronic music studio in Cologne.
    This is another line. Then the development from serial
    technique to formula technique is again another line. So it
    depends just where you touch my musical mind, and I will
    show you how many, many lines are running in parallel and
    crossing each other constantly in different compositions.

    Going back to Kreuzspiel - that was around the time you
    first started using technology...

    Yes. 1952 I started working in the studio for musique
    concrete, of the French radio. Because I was very intrigued
    by the possibility to compose one's own sound. I was
    allowed to work in the studio of Pierre Scaeffer: I made
    artificial sounds, synthetic sounds, and I composed my first
    etude: Etude Concrete. At the same time, I was extremely
    curious, and went to the musee de L'homme in Paris with a
    tape recorder and microphones, and I recorded all the
    different instruments of the ethnological department:
    Indonesian instruments, Japanese instruments, Chinese
    instruments; less European instruments because I knew
    them better, but even piano sounds... Then I analysed these
    sounds one by one, and wrote down the frequencies which
    I found and the dynamic level of the partials of the spectra,
    in order to know what the sound is made of, what the
    sound is, as a matter of fact; what is the difference between
    a lithophone sound or, let's say, a Thai gong sound of a
    certain pitch. And very slowly I discovered the nature of
    sounds.The idea to analyse sounds gave me the idea of
    synthesize sounds. So then I was looking for synthesizers or
    the first electronic generators, and I superimposed vibrations
    in order to compose spectra: timbres. I do this now, still,
    after 43 years.

    Have things got easier for you?

    No. really not. The last three weeks I just spent every day
    in the studio, eight hours, working with a new digital
    technique with a Capricorn mixing console, the newest one,
    from Siemens, or the English Neve Nicam, from
    Cambridge, and two 24 channel Sony tape recorders, one
    being the leader and one running in slave, in order to make
    very special movements in space... And I must tell you that
    out of eight hours per day I waited seven hours without any
    result, because the technicians, sound engineers, didn't
    know how to deal with these instruments, and had never
    encountered problems which I had imposed. So it is
    becoming more difficult for me.

    I wonder to what extent your fascination with technology
    helps you as a composer, and to what extent your
    frustration with it helps you?

    [Tragic] I don't know how to go on. No matter how difficult
    it is. Very often I am quite desperate.

    You say your music speaks of the essential unity of the
    universe; I wonder how you came to this realisation, and
    how it speaks through the music?

    Well, I didn't come to it. That is the oldest tradition of all
    music styles, music cultures on this planet. The beginning of
    every art music development, in China, or in India or in
    European monasteries was always to relate the art of
    shaping and composing sounds with the art [by which] the
    stars are shaped and composed. Astronomy, mathematics
    and music were the highest disciplines throughout the
    centuries since the beginning of European art music in the
    monasteries, let's say in the tenth until the 14th, 15th
    century... I have studied all music of Europe as a student - I
    had to - and I at a very early age became aware, also
    naturally, [that] certain music, like the Art Of The Fuge by
    Johann Sebastian Bach or the Musikalishe Opfer, [has]
    always known about this relationship between the laws of
    the universe, astronomical laws, and the laws of the music
    of this Earth. For example, I admire very much the music of
    Anton von Webern, who is practically not known by the
    large public today. But he studied Senfi, composer of the
    renaissance, German composer who also knew the
    isorhythmic Motette, the technique of isorhythms, and
    Webern was very, very aware, as a collector of very strange
    plants, he always went on the mountains, in the Alps, to
    collect the most beautiful and loneliest plants in the world,
    and dried them. And his music is like that: he knew that the
    same laws which ruled the inner life of atoms and galaxies
    applied to the music. To the art music.

    Can we talk about the music we sent you? It was very good
    of you to listen to it. I wonder if you could give some
    advice to these musicians.

    I wish those musicians would not allow themselves any
    repetitions, and would go faster in developing their ideas or
    their findings, because I don't appreciate at all this
    permanent repetitive language. It is like someone who is
    stuttering all the time, and can't get words out of his mouth.
    I think musicians should have very concise figures and not
    rely on this fashionable psychology. I don't like psychology
    whatsoever: using music like a drug is stupid. One shouldn't
    do that : music is the product of the highest human
    intelligence, and of the best senses, the listening senses and
    of imagination and intuition. And as soon as it becomes just
    a means for ambiance, as we say, environment, or for being
    used for certain purposes, then music becomes a whore,
    and one should not allow that really; one should not serve
    any existing demands or in particular not commercial values.
    That would be terrible: that is selling out the music.

    I heard the piece Aphex Twin of Richard James carefully: I
    think it would be very helpful if he listens to my work Song
    Of The Youth, which is electronic music, and a young boy's
    voice singing with himself. Because he would then
    immediately stop with all these post-African repetitions, and
    he would look for changing tempi and changing rhythms,
    and he would not allow to repeat any rhythm if it were
    varied to some extent and if it did not have a direction in its
    sequence of variations.

    And the other composer - musician, I don't know if they
    call themselves composers...

    They're sometimes called 'sound artists'...

    No, 'Technocrats', you called them. He's called Plasticman,
    and in public, Richie Hawtin. It starts with 30 or 40 - I don't
    know, I haven't counted them - fifths in parallel, always the
    same perfect fifths, you see, changing from one to the next,
    and then comes in hundreds of repetitions of one small
    section of an African rhythm: duh-duh-dum, etc, and I think
    it would be helpful if he listened to Cycle for percussion,
    which is only a 15-minute long piece of mine for a
    percussionist, but there he will have a hell to understand the
    rhythms, and I think he will get a taste for very interesting
    non-metric and non-periodic rhythms. I know that he wants
    to have a special effect in dancing bars, or wherever it is, on
    the public who like to dream away with such repetitions, but
    he should be very careful, because the public will sell him
    out immediately for something else, if a new kind of musical
    drug is on the market. So he should be very careful and
    separate as soon as possible from the belief in this kind of
    public.

    The other is Robin Rimbaud, Scanner, I've heard, with
    radio noises. He is very experimental, because he is
    searching in a realm of sound which is not usually used for
    music. But I think he should transform more what he finds.
    He leaves it too much in a raw state. He has a good sense
    of atmosphere, but he is too repetitive again. So let him
    listen to my work Hymnen. There are found objects - a lot
    like he finds with his scanner, you see. But I think he
    should learn from the art of transformation, so that what
    you find sounds completely new, as I sometimes say, like
    an apple on the moon.

    Then there's another one: Daniel Pemberton. His work
    which I heard has noise loops: he likes loops, a loop effect,
    like in musique concrete, where I worked in 1952, and
    Pierre Henry and Schaeffer himself, they found some
    sounds, like say the sounds of a casserole, they made a
    loop, and then they transposed this loop. So I think he
    should give up this loop; it is too oldfashioned. Really. He
    likes train rhythms, and I think when he comes to a soft
    spot, a quiet, his harmony sounds to my ears like ice cream
    harmony. It is so kitchy; he should stay away from these
    ninths and sevenths and tenths in parallel: so, look for a
    harmony that sounds new and sounds like Pemberton and
    not like anything else. He should listen to Kontakte, which
    has among my works the largest scale of harmonic, unusual
    and very demanding harmonic relationships. I like to tell the
    musicians that they should learn from works which already
    gone through a lot of temptations and have refused to give
    in to these stylistic or to these fashionable temptations...



    Portions of this interview were broadcast on Radio 3 in
    October as part of the Technocrats mini series, which
    examined Stockhausen's musical legacy. This partially
    edited transcript is printed here [the WIRE, Nov. 1995]
    courtesy of Radio 3 and Soundbite Productions. The music
    which Stockhausen was commenting on included "Ventolin"
    and "Alberto Balsam" by Aphex Twin, Plasticman's Sheet
    One album, "Micrographia", "Dimension" and "Discreet" by
    Scanner, and "Phoenix", "Phosphine", "Novelty Track" and
    "Voices" by Daniel Pemberton.



    Advice from clever children...


    Following Stockhausen's advice to our Technocrats, we
    decided to play them excerpts from the compositions which
    the German composer suggested they listen to and learn
    from. Here's what they had to say...



    Aphex Twin on Song Of The Youth

    Mental! I've heard that song before; I like it. I didn't agree
    with him. I thought he should listen to a couple of tracks of
    mine: "Didgeridoo", then he'd stop making abstract, random
    patterns you can't dance to. Do you reckon he can dance?
    You could dance to Song of the Youth, but it hasn't got a
    groove in it, there's no bassline. I know it was probably
    made in the 50s, but I've got plenty of wicked percussion
    records made in the 50s that are awesome to dance to. And
    they've got basslines. I could remix it: I don't know about
    making it better; I wouldn't want to make it into a dance
    version, but I could probably make it a bit more anally
    technical. But I'm sure he could these days, because tape is
    really slow. I used to do thingslike that with tape, but it does
    take forever, and I'd never do anything like that again with
    tape. Once you've got your computer sorted out, it pisses all
    over stuff like that, you can do stuff so fast. It has a
    different sound, but a bit more anal.

    I haven't heard anything new by him; the last thing was a
    vocal record, Stimmung, and I didn't really like that. Would
    I take his comments to heart? The ideal thing would be to
    meet him in a room and have a wicked discussion. For all I
    know, he could be taking the piss. It's a bit hard to have a
    discussion with someone via other people.

    I don't think I care about what he thinks. It is interesting,
    but it's disappointing, because you'd imagine he'd say that
    anyway. It wasn't anything surprising. I don't know
    anything about the guy, but I expected him to have that sort
    of attitude. Loops are good to dance to...

    He should hang out with me and my mates: that would be a
    laugh. I'd be quite into having him around.



    Scanner on Hymnen

    It's interesting that I've not heard this before, and maybe
    Thomas Koner hasn't and so on, but you can relate it to our
    work. I don't know whether it's conscious or not. I was two
    years old when this was written! Stockhausen says he don't
    like repetitions: what I like about repetition is it can draw the
    listener and lull you into a false sense of security, but when
    it gets too abstract - this is cut-ups - I find it very difficult to
    digest over a long period of time. He's a lapsed Catholic,
    and there's the sense that it's meant to be a religious
    experience passing through these records, like a purging of
    the system. Whether you like it or not, you're affected in
    one way or another. I'd like to hear this live.

    I prefer the gentler passages. I do find myself irritated by
    that barrage of sound against sound over a long period of
    time: an alternative kind of repetition. That's why I like Jim
    O'Rourke's work, because it works over long periods.

    I wonder about him putting himself into the recording; is it a
    vanity thing, or part of the process? With the scanner, it's
    like live editing, which is like this as well. When you scan, if
    you don't like something you flick between frequencies,
    when you DJ you cut between records, and it is an artform
    as a form of live editing...

    Reminds me of the Holger Czukay LP Der Osten Ist Rot,
    cutting between national anthems, like tuning through a
    radio: I don't know whether this is actually happening or
    not. This is very good actually - better than I expected. At
    the end there's a recording of him breathing. It's quite
    uncomfortable - like being inside his head.

    I take some of what he said about my music to heart. Part
    of what I'm interested in is transforming material. Lots of
    the sounds I use are off the scanner or the shortwave radio.
    Lots of people wouldn't realise that sometimes a bass sound
    isn't a keyboard bass sound: it's a little blip on the phone. So
    I do try and transform the material as much as possible. I
    disagree about repetition: I think, as John Cage said,
    repetition is a form of change, and it's a concept you either
    agree or disagree with. I like repetitions; I like Richie
    Hawtin's work for that very aspect. In a way it is like a
    religious experience: if his work is about spirituality, then
    this is a kind of alternative, non-religious spirituality, where
    you're drawn in by this block of rhythm; it's an incredible
    feeling, the way it moves you physically, and moves you in
    a dancefloor as well.

    Things like this are designed to be listened to over long
    periods of time, and sometimes I think it could do with
    some editing. Most contemporary sound artists are working
    within a four to ten minute time scale, basically. And to be
    honest, for most people that's enough.



    Daniel Pemberton on Kontakte

    At first I expected someone hitting a piano randomly, but
    there were happenings in there, with stereo panning and
    effects. I was very impressed considering the time it was
    done: the 1960s. He was going on about how everyone's
    stuff was repetitive, but his stuff is the complete opposite:
    so unrepetitive that it never really got anywhere. Not
    necessarily a bad thing, but it didn't have any development
    in it: sounded like an Old School FSOL. When he
    recommends Kontakte for its "very demanding harmonic
    relationships", it sounds a bit suspect to me: the whole piece
    seems to be dealing far more with timbre than with
    harmonic relationship. It's obviously based around sound,
    and any harmonics on there, to the non-musical ear, sound
    like a piano hit randomly. It would be very good to put
    some Hip Hop breaks under, actually.

    What he said about me was quite funny: he accuses me of
    old hat... I was born in 1977, 25 after [Kontakte], a longer
    time than I've lived. I'm still learning musical history. If my
    whole career goes down the pan, at least I've got a future
    with Mr Whippy! And for him to call eigths, ninth and
    tenths 'kitschy'! The scales I commonly use aren't too
    adventurous, but that's because they're the ones that sound
    nice. The stuff I've done which is unlistenable, I haven't
    released because no one would enjoy it.

    It's good to have other people's views. I ignore them in the
    sense that I know what I want to do: his criticisms won't
    make me throw everything away and start working with
    bizarre new scales and fantastic new instruments. I know
    what he means about loops though; that's because I haven't
    got much equipment.

    Get a chewn, mate! I think he should develop his music a
    bit more. Try and repeat some of the ideas, work on them,
    build them up; you can still change them. He should listen
    to a track off my forthcoming album, Homemade.
    Stockhausen should experiment more with standard
    melodies, try and subvert them; he should stop being so
    afraid of the normal: by being so afraid of the normal he's
    being normal himself by being the complete opposite. He
    should try to blend the two together: that would be new and
    interesting. To me, anyway.


    Interviews by Rob Young. Richie Hawtin was not available
    for his comments on Zyklus.