{"id":50135,"date":"2022-11-08T15:51:26","date_gmt":"2022-11-08T14:51:26","guid":{"rendered":"https:\/\/elgarajedefrank.es\/?p=50135"},"modified":"2022-11-08T15:51:26","modified_gmt":"2022-11-08T14:51:26","slug":"interview-martial-canterel-xeno-and-oaklander","status":"publish","type":"post","link":"https:\/\/elgarajedefrank.es\/en\/interview-martial-canterel-xeno-and-oaklander\/","title":{"rendered":"Interview: Martial Canterel\/Xeno And Oaklander"},"content":{"rendered":"

We left Martial Canterel’s last concert in Madrid with a smile on our faces. It was a gig that was preceded by the DJ set of Arch, friend of the artist who also helped us write some questions for this interview. Sean McBride, both with his solo project and with Liz Wendelbo as Xeno and Oaklander, has created some of the most exciting works of modern minimal wave. We had a short talk with him and Liz, who are playing at Ombra Festival, that will take place in Barcelona from the 25th to the 27th of November.<\/span><\/strong><\/p>\n

\u2014When and how did you discover electronic music?<\/strong><\/span><\/p>\n

\"\"<\/strong>\u2014I was a child of the 80s, so it was impossible not to hear synthesizers no matter what music you were listening to. I remember at a very young age being swept up by the vocoder and bassline of Earth, Wind and Fire<\/strong>\u2019s \u2018Let\u2019s Groove\u2019 and that iconic Jupiter 4 random arpeggio in Duran Duran<\/strong>\u2019s \u2018Rio\u2019. In my early teenage years, I discovered The Cure,<\/strong> and I was particularly drawn to the dulcet string synths underpinning songs such as the \u2018Forest\u2019 or \u2018The Holy Hour.\u2019 That naturally led me into other dark territories such as Front 242<\/strong>, Front Line Assembly<\/strong>, SPK<\/strong> and Chris and Cosey<\/strong>. The continual \u2018diving deeper\u2019 for more and more of this music shaped my early musical consciousness.<\/span><\/p>\n

\u2014You said that from 1978 to 1984, there was a Golden Age in electronic music and that you try to reproduce this moment. What do you find that remarkable in that period?<\/strong><\/span><\/p>\n

\u2014In hindsight, it appears to be a golden age because it was the period where synthesizers could be had by the common man, the hobbyist, the Sunday musician; the punk band could trade in their guitars and drums and explore a new and expansive palette of sound. Naturally, owing to the nature of analogue electronics there was retained a sense of roughness and imprecision, that while being electronic, still had something of the human audible in it. This largely vanished with the advent and widespread popularity of digital synths and sampling.<\/span><\/p>\n

\u2014You started with the AKA Moravagine and recorded some demos that later became part of a self-released album. How were these first days?<\/strong><\/span><\/p>\n

\u2014These early days were extremely exciting and perhaps some of my most productive and prolific. For the first batch of songs (2002), I used an old Roland MC500 MIDI sequencer from 1984 and wrote them aided with a MIDI to CV converter to control the monosynths, and a Prophet 600 and Jupiter 6. I, then, made the conscious decision to use only the interfacing and control protocols (CV\/Gate) implemented in these synthesizers from the late 70s: Arp Odyssey, System 100, MonoPoly and eschewed the use of MIDI.<\/span><\/p>\n

\u2014When did you move to New York and why? Any special memories of that time?<\/strong><\/span><\/p>\n

\u2014I moved to NY in 1999 with my friend Cheyney (Epee du Bois). It was this move that led me to meet Pieter Schoolwerth, Gilles Leguen, Glenn Maryansky and Phil Painson. We would gather on Tuesday nights in a nearly empty Nightclub called Blu Lounge in Williamsburg and listen to synth rarities selected by Gilles and Glenn. This period would ultimately prove to be the beginnings of what would become the Weird parties.<\/span><\/p>\n

\u2014So far Martial Canterel has released three volumes of Navigations with rarities and sketches. Do you still have more? Are these also part of the Moravagine material?<\/strong><\/span><\/p>\n

\u2014Some are from the Moravagine<\/strong> era, some are right after. There are definitely more things that could be unearthed.\"\"<\/strong><\/span><\/p>\n

\u2014Why did you change the name of your project to Martial Canterel?<\/strong><\/span><\/p>\n

\u2014The record label I put out my first record on, Genetic Music, alerted me to the fact that there was an Italian punk band with the same name already out there, so I changed the name. I had been for years a fan of the period and writing of Raymond Roussel, so it was an easy decision.<\/span><\/p>\n

\u2014Although you are American, your music has been linked with the sound of Europe. Also you speak some Italian and Hungarian, right? What are your ties to the Old World?<\/strong><\/span><\/p>\n

\u2014I do love languages, but I must say when not using them or constantly studying them they fade, as is the case with my Hungarian, although my Italian will strengthen as my girlfriend is from Italy. With regard to the \u201cOld World\u201d, I guess it is the music of various people who grew up surrounded by the many histories and arts that Europe is replete with – needless to say, it haunts the music.<\/span><\/p>\n

\u2014You also have a special relation with Valencia, right?<\/strong><\/span><\/p>\n

\u2014I love Valencia and the many friends I have there. They opened their hearts to me and my music like nowhere else.<\/span><\/p>\n

\u2014Also, your music has been described as the sound of lost memories, of the past. Does the past haunt you? Do you consider yourself a nostalgic person?<\/strong><\/span><\/p>\n

\u2014The past has certainly been a sanctuary from the contemporary. It goes without saying.<\/span><\/p>\n

\u2014From 2006, you started releasing songs, and later albums in the Wierd label both with Martial Canterel and X&O. How was your relationship with Pieter Wierd and what do you remember of the Wierd Club parties that you mentioned before?<\/strong><\/span><\/p>\n

\u2014As mentioned above I met Pieter in 2000 at the Blu Lounge, and we had many musical conversations, Music nights and parties and decadent wanderings starting in 2001 that all culminated in the Weird parties of Home Sweet Home in 2007. The Weird parties were truly one of a kind, they were truly a hashish of all sorts of eccentricity and walks of life; they were never limited to one look or sound but engendered a wide spectrum of general connectedness and yearning for the human in nightlife.<\/span><\/p>\n

\"\"\u2014Do you think that You Today,\u00a0<\/em>your album from 2011,\u00a0was a move to a more sentimental music? Even your voice sounds less robotic in this album.<\/strong><\/span><\/p>\n

\u2014You Today<\/em> was made in 2 weeks, just set out to make an LP and sat down and put this together – it encapsulates a particular moment in time – I never thought of it as being more sentimental in relation to my other work. Btw, I have never been interested in Robotics or cybernetics or post-human technologies in my music.<\/span><\/p>\n

\u2014In Gyors, Lass\u00f9<\/em>, released three years later, you recognized influences from the rock scene like Ride or early My Blood Valentine. Do you find any connection between shoegaze and your music?<\/strong><\/span><\/p>\n

\u2014<\/strong>I realized that working with a particular set of oscillators I could very easily produce these guitar-like wall of noise timbres that were akin to those in MBV<\/strong> or some of Ride<\/strong>\u2019s freak-outs, so I explored them.<\/span><\/p>\n

\u2014How can you sound minimal and baroque at the same time?<\/strong><\/span><\/p>\n

\u2014Baroque in this case implies particular harmonic modes, cadences, etc and Minimal defines the means by which it is realized.<\/span><\/p>\n

\u2014I heard that you have a lot of synths, which one is your more precious? <\/span><\/strong><\/p>\n

\u2014\u201979 Series Serge Modular and Roland System 100 (101, 102, 104).<\/span><\/p>\n

\u2014More about synths. How many Sh-0101 do you already own? Any funny story about how you got them?<\/strong><\/span><\/p>\n

\u2014I have 4 Sh 101s.<\/span><\/p>\n

\u2014How was born the idea behind the Places We Think We Know?<\/em> It\u2019s based on photos by Mary McIntyre, right? Do you plan to do more works in this more \u201cclassical\u201d direction?\"\"<\/strong><\/span><\/p>\n

\u2014I was asked to score music for photo works made by Mary. I was listening to lots of Ravel, Debussy, and Scriabin and aspects of these guys entered into my musical vocabulary. I am planning to do another project with Mary and Fr\u00e9d\u00e9ric Huska along similar lines.<\/span><\/p>\n

\u2014Let’s move now to the Xeno and Oaklander’s questions. Liz, you met Sean in a party if I am not wrong, what struck you to collaborate with him?<\/strong><\/span><\/p>\n

\u2014LW:\u00a0<\/strong>We fell in love and love is the greatest creative engine.<\/span><\/p>\n

\u2014Sentinelle<\/em>, Xeno and Oaklander\u2019s first album was recorded entirely live according to you Bandcamp notes. Have you continued recording the albums in this way? What\u2019s the advantage for you of doing it like this?<\/strong><\/span><\/p>\n

\u2014All of the music of MC<\/strong> and XO<\/strong> is recorded live in one take because the nature of the interconnectedness of the synths necessitates such.<\/span><\/p>\n

\u2014I would like to dwell on the concept behind Par Avion, synesthesia. Is it usual that you Liz perceive music through other different senses? I guess that the idea of the scented album comes from here.<\/strong><\/span><\/p>\n

\u2014LW:<\/strong> Sound makes me think of a scent, which makes me think of an image, which makes me think of a certain kind of light. That\u2019s what synesthesia meant in this album. There was an insert in the vinyl that was scented with a dark rose scent. Vi\/deo<\/em>, our latest album plays with the same idea.<\/span><\/p>\n

\u00a0Literally speaking the word video means \u2018what you see\u2019. So, it felt nice to <\/span>add a fragrance component to the album with a scented insert too – for the red vinyl. Saffron, rose oxide and incense. And then, the music and the\u00a0colors of a video image, the red, green and blue.<\/span><\/p>\n

\u00a0 \u2014Both Movements<\/em> albums are your more experimental works as Xeno and Oaklander. The first was commissioned by the National Center for the Arts of Grenoble. How did you approach the creation of such a piece? Is it easy to keep the X&O imprint in a work like this?<\/strong><\/span><\/p>\n

\u2014Essentially the same process as the songs, just longer form and a more expanded palette of sound – we used more non tonal elements for example.<\/span><\/p>\n

\"\"\u2014According to you, \u201cMusically, Hypnos<\/em> is a return to polyphony after several years of using strictly monophonic synthesizer.\u201d Why the change? Did you want to bring more complexity to the music of the duo?<\/strong><\/span><\/p>\n

\u2014<\/strong>Indeed, I think the fact that Ravel was buzzing around my subconsciousness was a big factor in this.<\/span><\/p>\n

\u2014How do you think that the music of Xeno and Oaklander has changed from the first album to Vi\/deo<\/em>?<\/strong><\/span><\/p>\n

\u201418 years of musical growth.<\/span><\/p>\n

\u2014Are you using Liz\u2019s perfumes? What will you recommend for us?<\/strong><\/span><\/p>\n

\u2014I do wear them, also a Horizon LTD scent she made for me that we have yet to release to the public.<\/span><\/p>\n

\u2014What can we expect in the future of Martial Canterel and Xeno and Oaklander?<\/strong><\/span><\/p>\n

\u2014Much more to come….<\/span><\/p>\n

\u2014What can we expect of your two concerts at Ombra Festival? <\/strong><\/span><\/p>\n

\u2014Wells of Melancholy, Walls of Bliss.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

We left Martial Canterel’s last concert in Madrid with a smile on our faces. 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