The Medium Newsletter
The Official Information Service
for
Steve Jansen, Richard Barbieri & Mick Karn
VOLUME 2 - 1995 Number 8 - - - - - - - - - - On-Line Version #1
INTRODUCTIONThe following text has been extracted from the official Medium Information newsletter which is distributed regularly to our subsribers. As subsciption charges are only imposed to cover the costs of printing matarials etc. (which are not incurred here), we feel that it is a good opportunity to offer the material to those interested in browsing the Medium Website pages, without any need for a subsription. Although the online version and hard copy are virtually identical in text content, we have ommitted the use of photographs which are to be found in the hard copy. The reason for this is that we want our subscribers (or those who purchase hard copies) to feel that they are getting something that little bit more special ! Anyway, I hope you enjoy the contents and please feel free to let us know your thoughts.
NEWSThe new Jansen/Barbieri album 'Stone To Flesh' was released on the Medium label on 2nd October, with the exception of Japan where it will be release February 1st on Jimco Records.The album is being distributed by Rough Trade in the Benelux, so those of you living in these territories should have no problem locating it in record shops. Steve and Richard visited Belgium and Holland for a series of interviews in September, which included - Belgium - Studio Brussel (radio), Blaazuit, Stage, Rif Raf, Het Volk, Moto, Le Soir, Nieuwsblad, De Standaard; Holland - Jan Douwe Kroeske for Vara Radio, Radio AFM, Slagwerkkrant and Oor.
The November issue of Future Music features 'Sleepers Awake' from the Jansen & Barbieri album 'Stone To Flesh' on the cover CD. There is also a brief question & answer section known as 'Downtime' on page 122 in which Steve and Richard reveal their thoughts. An album review is also inside.
Mick Karn's album, 'The Tooth Mother' was released on May 15th by CMP Records in the UK and Europe, and early Autumn in America. At the end of April Mick went to Japan for a week's promotional visit. This included in-store talk-shows/autograph sessions in record stores in Tokyo and Niigata.
As you are probably already aware, Mick also performed some live dates in Italy last November:
7th - Florence/8th - Rome/9th - Chieti/10th - Verona/11th - Mestre/12th - Reggio Emilla/13th - Milan/14th - Palermo.
The set predominantly featured tracks from 'The Tooth Mother' and 'Bestial Cluster'. The band line up was: Mick Karn - Vocals, bass; Masami Tsuchiya - Guitar; Gavin Harrison - Drums; Tim Garland - Flute, Sax; Mieko Shimizu - Keyboard, Vocals
Richard has continued working with the Porcupine Tree on live dates and in the studio. The band played a one-off gig at the Palladium in Rome on 8th June. 1,200 people attended and all reviews of the gig were very favourable. Festival dates in Belgium and Holland followed. A UK tour of 10 concerts kicked off on 11th October (UK subscribers should've received notification of these shows). A short Italian tour (25th-29th October) follows. The London date on 17th November at The Garage was cancelled.
Jansen/Barbieri are writing three ambient pieces which they will combine with 5 tracks from 'Worlds In A Small Room' - Breaking The Silence, Blue Lines, The Way The Light Falls, Balance and Distant Fire. The album will have a new title and different packaging and will be released on CD next year by Medium, outside of Japan.
Jansen/Barbieri/Karn are intending to record another 'Medium Series' album along the lines of 'Beginning To Melt', which features other artists.
Earlier this year, the cover CD of 'The Mix' featured a track by another act called the Oystercatchers. Based on the Isle Of Man, the husband and wife outfit have a very different musical style to that of Richard and Suzanne. After discussion, it was decided that they would keep the name and Richard and Suzanne will now record under the name of Indigo Falls. Indigo Falls are currently working on what will either be a mini CD or a full length recording for release next year.
In July, as part of their debut in Europe, Polytown took part in a Jimi Hendrix tribute concert in Stuttgart, Germany. The 4 hour concert, to be televised, featured different line-ups for each song. So, as well as playing 3 of their own pieces, Polytown joined in on 5 other Hendrix songs.
According to Tower Records' 'Top' magazine, 'Assemblage' has been re-issued as a double set (Japanese import) and contains 9 bonus tracks, 5 of which are previously unreleased. We've yet to see a copy to confirm this report.
Jansen/Barbieri's 'In The Black Of Desire' from 'Seed' is to appear on 'Ambient Extractions Volume II - Dreams in Light'. The compilation is scheduled for release early next year on C+S Records, USA. Other artists on the album include No Man, Future Sound Of London and Eno and Byrne.
In April Steve and Richard worked with Masami Tsuchiya on an album he was producing for Japanese actor/turned singer Hiroshi Mikami.
VH-1, the German video channel are compiling a documentary about the ex-members of Japan. With an estimated running time of 50 minutes, it will feature interviews conducted over the last couple of months with Steve and Richard, Mick, David and Holger Czukay, interspersed with video clips, some of which have never previously been shown. We do not as yet have an exact date for its screening but is tentatively scheduled for sometime in the spring of '96
Yukihiro's album, 'Mr Y.T.', features a track, 'In This Life' with lyrics and music by Steve Jansen. The album was released in 1994 on the First World label, catalogue number TOCT-8601.
JANSEN/BARBIERI ON 'STONE TO FLESH''Stone To Flesh' was recorded in your own studios. Do you find it preferable to working in a recording studio? Is it difficult to discipline yourself to work and are interruptions a problem? Do you work set hours or when you feel like it?Working in your own studio gives you a much greater chance to develop ideas without the pressure of incurring huge studio costs. In the past, as a band, we made that mistake and you have to sell a lot of records to offset that expense. With the advancement of technology it's now possible to achieve very good quality recordings with reasonably priced digital (home) studios, and I think that this will reverse that pressure onto the professional studio, and even record companies themselves, as more and more artists turn to their own devices and a more independent stance. It's definitely a good thing.
Discipline can be a problem, but I guess that if you remain motivated, then it's something you overcome. It's generally better to work as and when you feel like it, as creativity is mood related, but at times there is a practical side to recording (especially when you engineer and mix), and on those occasions you can get on regardless of whether you feel like it or not.
Did you work continuously on the album or did you have to take a break? If so, do you feel that was a good or bad thing?
Yes, we take a few breaks. Again, with being in control of the recording you have the opportunity of taking a step back and assessing the situation. If you sense you're getting bogged down or losing perspective, it's an indication that you're mentally unclear about the direction of things. This can be caused by any number of outside influences and you're better off sorting yourself out before going any further.
The harmonica on 'Mother London' and 'Everything Ends In Darkness' is particularly striking. Did you have it in mind when you wrote and recorded the album or did it develop with the course of the work as the piece progressed? What made you choose Mark Feltham?
We were aware that we needed a soloist on the album, apart from guitar, but it wasn't decided at the outset which instrument it would be. Once the material took shape, we knew that we needed something with a strong dynamic range which at times could be an isolated, lonely sound, but then built into something as aggressive as electric guitar. Mark's harmonica playing is just that. We knew of him from his work with Talk Talk and O'rang and knew that his style would work extremely well. Mark is primarily a blues player, and putting that style in a different context, gives you something really special.
The credits on the album are equally split between Jansen, Barbieri and Jansen/Barbieri. With the pieces that one or the other of you are credited with, were they pretty much finished when you presented them to the other? Also, how do you write a piece between the two of you, for example 'Closer Than 'i'' - how did it begin?
Basically, (on the co-writes that feature vocals) I give Steve the music already arranged and he adds vocals and lyrics wherever he feels they will work best. He will then go about arranging the rhythmic side of things using my original rhythms as a guide. We then work together on ideas for overdubs. A lot of the subtleties in the music are worked on together as the track nears completion. Again, with the individually written tracks, the bulk of the arrangement and melodies are already there before the other person gets involved.
Do you find it easier when both of you sit down and work on a track from scratch, or when one brings a whole idea/started piece to the other?
We prefer to bring a completed idea of structure to one another. It's possibly due to this approach that neither of us have felt the need to make a solo record so far. You can take an idea as far as you like before opening it up. On the other hand, the good thing about improvising and developing ideas together is that a track can sometimes take shape very quickly. The tracks, 'One More Zombie' and 'Beginning To Melt' were a good example of this and we were very pleased with the outcome.
The album features Steven Wilson, David Torn, Mark Feltham and Colin Edwin. Did you know exactly what you wanted from them or did you give them a free rein? With David Torn being based in the States, did you give a brief/instructions as to the feel of the work you wanted him to do or did he send you material that you worked around?
As a duo, we needed the input of a guitarist, bassist and soloist to create a 'band' feel for the album. Steven Wilson had the most work to do as there is guitar on most of the tracks. As he uses the same recording format as we do (Alesis ADAT's) we simply gave him a tape containing a stereo rough mix and some explanatory notes of guidance. He then worked in his own time. After a few days he presented us with the tape incorporating his ideas. This isn't a usual scenario as under less familiar circumstances, we'd rather be there to get the most out of the situation, but with Steven there's a high element of trust. It's actually the same method we used when I (Steve) worked on the last No Man album. It's extremely convenient.
With Mark and Colin we worked more in the traditional way of session recording. The fact that David Torn lives in the US is always a grievance, we'd much rather have him in the studio with us, but often it's just not practical ... so yes, he does supply us with prepared loops which we then incorporate any way we can.
Did Steve write the lyrics for all 3 vocal tracks? Were the lyrics written first and the song structured round them or vice versa? Do they tell a (personal) story in your own mind or they a series of interesting images juxtaposed with one another?
Steve: I did write all the lyrics on the album. 'Mother London' is a book by Michael Moorecock which focuses on the more mysterious, historical side of our fair city. I haven't actually read it myself, but Richard had and this had been his inspiration for composing the music. He relayed the general impression of the book to me and I then interpreted that into lyrics for the track. I didn't actually want to read the book before the track was completed as I thought it may possibly dampen my own imagery, or influence the outcome too directly. So it is about London in a 'mother figure' kind of way. Saying that, it remains open to interpretation. With 'Ringing The Bell Backwards' the idea for lyrics had been developing while I was working on the track. It wasn't necessarily going to be a vocal track but I thought I'd give it a go, as musically it was suggestive enough to develop. Lyrically it concerns manipulative religious principles opposing the simplicity of atheism (I kid you not). 'Siren' the manipulative ... and 'Drift' the acceptance of life for what it is. The 'Bell' theme is an analogy for the gift of life. 'Closer Than 'i'' is basically about the pain we feel when we lose something we've held close to our hearts.
Steve, was it hard for you to record the vocals in your own environment? Are you now more comfortable and confident with your singing voice and are you happy with the end result? Do you feel vocal work will appear more frequently in your projects now?
I was much more comfortable recording vocals in the private sanctity of my own environment. Though I wouldn't say that I am comfortable dealing with vocals overall - it's kind of alien to me. But with this album, I've found that if I approach vocals in more of an incidental way as opposed to a 'song' structure, then I'm more likely to find something I like. For this reason I prefer 'Ringing The Bell Backwards' and 'Mother London' to just about anything else I've attempted (although 'Catch The Fall' has elements of that approach). If I continue in this vein, then vocals may appear more in our work.
How did you come up with the title, 'Stone To Flesh'?
'Stone To Flesh' is a line from 'Mother London' and in the context of the song it depicts a gravestone - but as the album title, it represents to us the 'hard' and 'soft' extremes that are contained within it.
What were your aims before you set out to make the album? Did you achieve those aims or did they change whilst you were working or did they deviate from the original plan during the recording?
The aim was to make compositions of diverse dynamics and changes that would keep the listener completely involved with the music. We have tended to 'cop out' slightly on some past compositions, maybe letting the piece meander aimlessly for too long. There's no such problem with tracks like 'Mother London' and 'Ringing The Bell Backwards' and 'Closer Than 'i'', we're really happy with the progressive nature of these tracks. It was difficult though to sustain this quality throughout the album and every so often we would drift back into familiar territory.
How were the songs composed? On computer?
Richard: I don't use a computer for composing. I work out an arrangement on piano or organ and then record it to tape live. I did utilise a sequencer for one or two tracks that needed obvious rhythms, but mainly most of my original overdubs were transferred to ADAT and kept.
Steve: I utilise a computer for compositions. For rhythm it's integral. Also, generally I don't commit things to tape until there's a few integrated ideas developed (except when starting a piece by building atmospheres - in the way a guitarist would 'loop' textures - in which case the computer comes in later). I see the computer in the same light as any other recording tool. In combination with sampling it offers greater manipulation of sound sources and accurate allocation and helps maximise potential.
Is it easier for you to work without an engineer or producer?
It definitely benefits a group recording to have a good engineer and a producer as an objective 'voice' within that working framework. It's obviously more difficult engineering your own work but it's good experience and gives you a kind of intimacy with the process of recording that you otherwise don't have.
How do you perceive you've moved on since the last Jansen/Barbieri album 'Stories Across Borders' and what did you learn in that four year period?
We feel that this album is the sum total of the previous work we did together. It's as though we've utilised the best elements of past albums, and would therefore go as far as to say that 'Stone To Flesh' represents our best work together to date.
Favourite track on the album?
'Mother London' and 'Ringing The Bell Backwards'.
Do you have any plans for live work to promote the album? If you plan to do any shows will it be just material from this album?
Originally we were planning on a full band line-up to take on tour, but being a small independent, without the financial tour support that comes with a major, we've had to re-think that idea. We would very much like to perform some live shows and are looking into an alternative format.
Do you feel more relaxed having your own company now where you don't have record company pressure/interference?
Yes, indeed we do. When you're recording for a major like Virgin, you are made constantly aware of their priorities and concerns as a competitive business. At the end of the day, their sales figures determine whether or not a band or recording artist is a success, but you can't measure the 'worth' of music by those standards. It's unfortunate that business and creativity have to be related in such a way, but there are so many livelihoods at stake, the pressure falls on the artist to produce the goods. At least with your own label, you've only to support your own needs.
Do you think in the future with new technology that more artists will create their own record company like Medium? Do you still plan to introduce new artists to the label?
We would recommend to any artist with the ability to handle the recording process that they give it a go. It definitely pays dividends. We hope to eventually work with new artists for Medium projects. We receive a lot of material and some of it is really good stuff. It's only a matter of time ...
The music industry has become more diverse over the last 10 years and success doesn't seem to be measured by number of singles/albums. Do you feel more comfortable now the pressure is off having to produce interesting yet commercial music?
We think we've always entered into recording with pretty much the same attitude, and commerciality was never one of our strong points. If music trends are ever again in our favour (can it happen twice in one career?), then we'd be pretty amazed. Either we'd be very fortunate or so old we've gone round full circle.
?... Q&A ... Q&A ... Q&A ... Q&A ...?Q: Are there any plans for Steve and Richard to record any solo projects?
(Gareth McInnis)A: There are no immediate plans for solo albums, but there is every possibility that Steve or Richard may wish to work on individual projects at some time in the future.
Q: Would Mick, Steve and Richard like to record with Ryuichi Sakamoto again? An album together would be great.
(Wesley McDowell)A: An album with Ryuichi Sakamoto seems unlikely, not because of any musical differences, but because Jansen/Barbieri and Karn have a very different way of approaching their work to that of Sakamoto. This would make it somewhat difficult for the artists to be comfortable with an equal collaboration.
Q: Have you any plans to sign any established acts such as Bill Nelson?
(Gareth McInnis)A: Medium Productions is a small independent label, and at the moment, is consumed with projects involving Jansen/Barbieri and Karn. As a young label we are still growing with each project and, in time, hope that it will be possible for various artists, established or otherwise, to release material through Medium.
Q: Would Steve and Richard consider releasing an album of remixes, (dance or otherwise) of their work?
(Wesley McDowell)A: Steve and Richard would indeed consider releasing an album of remixes of their previous work. They would want them to sound very different from the original versions, and the idea of dancefloor or club mixes has always been of interest to them. Obviously, we'll let you know of any remix plans.
Q: Is it true that the concert at the Bloomsbury Theatre as part of the Bestial Cluster tour was recorded for TV? If so, when will it be shown and/or made available on video? Secondly, they played an instrumental piece that I believe is called 'Sound Of Waves', is this available?
(Richard Leslie)A: The Bloomsbury Theatre concert was filmed but there are no plans for it to be made available on video. However, 2/3 mins are to be shown as part of a documentary on Sylvian, Karn, Jansen, Barbieri for VH-1, which is currently being put together.
'Sound Of Waves' is on the B-side of 'Sensitive' and is now also on the 'Titles' album which was re-released a couple of years ago with 'Sound Of Waves' as a bonus track.
Q: Do Steve, Richard or Mick contribute to the new David Torn album?
(Warren Evans)A: David Torn's 'Tripping Over God' does not feature Jansen, Barbieri or Karn. This album is released on CMP Records, catalogue number CMPCD 1007.
Q: I've long been impressed by the expert sounds and designs Richard gets from keyboards and synthesizers. What musicians does he regard as influences on his style (if any!), and also, with the new rising popularity of electronic and ambient music, is there anyone currently working in that area who impresses him?
(Vaughan Simons)A: Richard: My main influences as regards electronics and synthesizers come from the works of Karklheinz Stockhausen (mid to late 1950s period) and Brian Eno (1970s period). To a lesser extent, early 70s' Can and Tangerine Dream may be a vague influence. I've never actually tried to mimic any one artist with the possible exception of Stockhausen on a track or two. Although there is a lot of interesting music going on at the moment, I don't feel that anyone is taking electronic or ambient music to the boundaries achieved by the above artists.