{"id":56392,"date":"2023-09-05T14:31:19","date_gmt":"2023-09-05T12:31:19","guid":{"rendered":"https:\/\/elgarajedefrank.es\/?p=56392"},"modified":"2023-09-05T16:00:32","modified_gmt":"2023-09-05T14:00:32","slug":"interview-linear-movement","status":"publish","type":"post","link":"https:\/\/elgarajedefrank.es\/en\/interview-linear-movement\/","title":{"rendered":"Interview: Linear Movement"},"content":{"rendered":"

Undoubtedly, the Autumn\/Linear Movement\/Twilight Ritual saga, was one of the most interesting and prolific adventures of what we call minimal synth today. As nexus of the three projects, we can find Peter Bonne, who was also part of the most creative period of<\/strong> A Split-Second. Last year we should have interviewed him, as he played at Ombra with his band Twilight Ritual but sadly we did not have enough time. So, in this interview we are compensating our error talking about all his projects. <\/strong>Linear Movement will play their first concert in 40 years at Ombra Festival that will take place from the 1st to the 3rd of December in Barcelona.\u00a0<\/strong><\/span><\/p>\n

\"\"\u2014How did you become interested in the music of Klaus Schulze, Ashra Temple, and Tangerine Dream? How did these artists influence your way of doing music?<\/strong><\/span><\/p>\n

\u2014It was late 70s and the use of synths created the most innovative and inspirational music style of the time (other than hard rock and disco). The ones you mention are the most known, but there were many great artists working in the shadows. It was a sport to trace them down, find their albums, go to their concerts when it was possible. Underground magazines, even on cassette, spread the word. I listened to them all day, and even had a 3-hour night show on the local radio.<\/span><\/p>\n

\u2014You met Geert Coppens and created Autumn. You were going together to school, right? Did you become friends because of a shared interest in electronic music<\/strong>?<\/span><\/p>\n

\u2014That might very well be the case. We shared classroom for a few years. I played a bit of guitar, he got access to an electric bass guitar, my brother played an organ… All that was quite a thing in that time. So, <\/span>we started jamming and sharing albums and it took off.<\/span><\/p>\n

\u2014How did the evolution of gear change the music that you were doing at the time? Was it a limitation for you? At the beginning you had to rent the material, right? You were one of the first bands to get a Roland TR 808, weren’t you?<\/strong><\/span><\/p>\n

\u2014We were lucky to live the time where every year or so some revolutionary new instrument was released. Stunning, but also frustrating as they were so expensive. Buying one today meant it was old the following year, and as young guys, we did not have that money of course. I remember visiting the music shop after school just to freak out on the newest synths \u2013 Polymoog, ARP 2600 -, I was dreaming away. Our real first recording was \u201cShe Says\u201d, Geert and myself on guitars and vocals, recoding on a 2-track tape in my bedroom. No synths yet. That was modern and hip, can you imagine? Later on, we could lay our hand on a small synth, the Yamaha CS30, that you can hear in all the early recordings with its sharp sequencer and monophonic solo sounds. From there on, we grew a bit, but mainly got things done through rent and borrowing stuff, still recoding on a 2-track tape with its 2 little mikes. Then, later on, I was able to make a good purchase, and that indeed included the first TR808 (in my country, of course) which I lent out to Marvin Gaye<\/strong> for a while in return for a favourable purchase at the shop. (PS \u2013 the shop also delivered to Marvin Gaye<\/strong>, who was living in Belgium at that time to prep for his next release Sexual Healing<\/em>)<\/span><\/p>\n

\u2014You have been building your own studios during your long career. Can you please tell us more about this?\"\"<\/strong><\/span><\/p>\n

\u2014In the first studios we rather improvised the setups, where gear was organised so we could jam and record easily. From the third studio on, it was a proper studio with 12-channel mixing and 4-track recording. That setup stayed while we added synths and other stuff in and out, until I moved to the Top Studio in Ghent, which was a proper studio. From there on I moved up in professionalism.<\/span><\/p>\n

\u2014How did you experience the cassette culture of the 80s? Were you in contact with other musicians<\/strong>?<\/span><\/p>\n

\u2014Oh yes, there was very active communication across the globe between fans, cassette labels, other bands etc. I had a very lively communication during the early 80s. That brought our music onto many compilation cassettes.<\/span><\/p>\n

\u2014Also, you created Micrart in 1977 that was a kind of non-profit organization. What was your intention when you started it?<\/strong><\/span><\/p>\n

\u2014At first it was just a name, Geert\u2019s idea, kind of kid\u2019s initiative to bundle what we do together, but I later made it official as a \u2018vzw\u2019, that\u2019s a non-profit org in my country. It allowed us some proper organisation as ownership of materials and publishing rights, etc.<\/span><\/p>\n

\u2014Your most ambitious event of that time with Autumn was Hard Breakfast, can you please tell us more about it?<\/strong><\/span><\/p>\n

\u2014It was ambitious as it was a 3-day concert (3 locations) with 12 participants and a bunch of hardware synths we never saw before. 1981. 17 years old. Crazy. The first night, we could count on tracks we wrote before and tried to play with a little extra using the new stuff. The second day, the new stuff took over and that performance was fully recorded. It helped that we could rehearse all day before the show. Best parts (most improvised) are on that album. We had video projection, jazz dancers, flute, and a f*** delay!!!<\/span><\/p>\n

\"\"\u2014One of the interesting aspects of Autumn was the capability of improvising between you and Geert. Something that’s not so common nowadays in electronic music. Were you rehearsing a lot or was it just something natural between the two of you?<\/strong><\/span><\/p>\n

\u2014Everytime Geert and I meet, we wrote and recorded several songs a day, for sure. There was no production, editing or arrangement involved, we just started playing, and if we agreed on something good, we continued with that idea until we said: -OK, let\u2019s record it. I\u2019ve got piles of 2-track tapes and cassettes that are filled with recordings like these. Over time, the best recordings were selected and put on cassette, later on CD and now on albums online. It\u2019s indeed problematic today to do that kind of interaction as all is concentrated on one computer, one track at the time. It\u2019s counter-intuitive unfortunately. We try to fix that by using 2 computers, so we can create ideas on our own, and transfer them to the main computer when suitable.<\/span><\/p>\n

\u2014You just said that there are piles of tapes filled with recordings of Autumn, will we get more material in the future?<\/strong><\/span><\/p>\n

\u2014I doubt that. It would take forever to look for the gems I missed before. But there will always be new material, at least for TWR<\/strong>; we don\u2019t intend to stop. It\u2019s just the tempo that is a bit slower, obviously because we got other things to do too.<\/span><\/p>\n

\u2014In those days you meet Peter Koutstaal who became part of Linear Movement. Was him who added a more pop sensibility to the projects?<\/strong><\/span><\/p>\n

\u2014Not necessarily. We had the Autumn<\/strong> and Twilight Ritual<\/strong> projects, and Peter was already involved in Autumn<\/strong>, the later part of it. He was also a school mate and a good keyboard player and added his part to the tracks. But it was really me that wanted to do something more poppy, as Autumn<\/strong> was very cosmic \/ experimental, and Twilight Ritual<\/strong> had a big sense of art and culture in its veins. As a matter of fact, the Not Afraid To Die<\/em>\u00a0album, released as Autumn,<\/strong> is a bit schizophrenic: if you check most tracks, it should have been a Linear Movement<\/strong> release. It kind of showed the way in 82, whereas most of the other LMO<\/strong>‘s works are from 83.<\/span><\/p>\n

\u2014So Not Afraid To Die<\/em> a prelude or an influence of what Linear Movement would become later?<\/strong><\/span><\/p>\n

\u2014Indeed, it was a prelude, though we didn\u2019t know that yet at the time.<\/span><\/p>\n

\u2014Another curious project was \u201cMeditation Of The Lost\u201d, released under the Autumn name where you played only accompanied by a jazz dancer on stage and the music was more “new age”. Can you please tell us more about the concept behind this new idea?\"\"<\/strong><\/span><\/p>\n

\u2014Not much of a concept I\u2019m afraid. I felt a bit lost as a girl dumped me, what else would an 18-year-old feel?\u00a0 So, in my case, I expressed that playing music and I created a bunch of tracks that eventually resulted in a live performance of two parts of 45 minutes and indeed accompanied only by a lady jazz dancer that was present at our Hard Breakfast shows. 2 CDs came out of it, the original \u2018short\u2019 tracks and the melted-together live versions.<\/span><\/p>\n

\u2014According to you, was Experiments With Environments<\/em>\u00a0the masterpiece, the summon of what Autumn was?<\/strong><\/span><\/p>\n

\u2014It might be, as it\u2019s a collection of tracks recorded over quite a year or so, and it does present Autumn<\/strong> in its variety of faces \u2013 experimental, very melodic, synths and guitars alike. It\u2019s the only album that is not associated with a specific event. But it tough to say that it\u2019s the summum of what we did.<\/span><\/p>\n

\u2014Way before the fashion of doing soundtracks for films you did Metropolis and even before some music for an 8mm movie by Jan Verheyen. How were these experiences? Did they change your way of composing? You had some problems because at the same time another soundtrack for Metropolis with some awful songs by Queen and Pat Benatar was released, right<\/strong>?<\/span><\/p>\n

\u2014First of all, Jan Verheyen is a successful movie director today, and we happened to share the same classroom at a certain moment. He was experimenting with making his first movie at school, and I got the opportunity to write some music for it. Most of it is on the I Invite<\/em> release. We were just 17. It got me to a studio for the first time, with the most stunning set of synths. You can here that on \u201cPictures Theme\u201d (guess which picture the title refers to \ud83d\ude09 )<\/span><\/p>\n

Metropolis is another story. Geert is an art historian and was captivated by the silent movie scene of the 20s, the expressionist movies of which Fritz Langs \u201cMetropolis\u201d was the pinnacle. Since only very old traditional soundtracks existed, we wanted to take the challenge to write and perform a novel soundtrack.<\/span>
\nWhen we performed that soundtrack live, Jan was present, and he had just came back from a film festival where Giorgio Moroder<\/strong>‘s\u00a0version was presented with tracks from indeed Queen<\/strong> etc. He was convinced that our interpretation was much better. Unfortunately for us, all rights were then restricted, and we could not perform anymore without risking penalties or even court. Our album releases now refer to Metropolis but not explicitly as \u201cthe soundtrack to.\u201d Too bad, because of the prep of over 6 months, it kind of killed Autumn <\/strong>right there.<\/strong><\/span><\/p>\n

\"\"\u2014You also started a project called Twilight Ritual (and played with it last year at Ombra). You said that the music of TR has more spirit and personality. Can you please explain this?<\/strong><\/span><\/p>\n

\u2014Twilight Ritual<\/strong> was Geert\u2019s idea. He and I make music without any effort at all. But Autumn<\/strong> had a style, and he wanted to bring on board more art, culture and alternative stuff as his interests laid very much in that direction. Geert was an art historian, which fits very well. So TWR<\/strong> is indeed only him and me and has a special twist around it. Whereas other projects have less \u201cengagement\u201d and are free to interpret, TWR<\/strong> looks for a character and personality that is more present in its work.<\/span><\/p>\n

\u2014One of Twilight ritual albums appeared in Spanish label Auxilio de Cientos, that also released one of your tracks in a compilation. How did they contact you? Did you follow the music of the label?<\/strong><\/span><\/p>\n

\u2014Through my international mailing and conversations, Javier Mar\u00edn and I met, and he wanted to release TWR<\/strong> on his new label. We were just working on the newest materials of Twilight Ritual<\/strong> and that stuff got released on the album. In an art show, Geert found this super picture of the Ghent industrial harbour, and that became the cover. It became a collector\u2019s item over time, and we\u2019re proud of it. Probably the most unique work TWR<\/strong> has ever made. We still get comments today on how some people got influenced by this album and started to make music because of it. Absolutely stunning!<\/span><\/p>\n

\u2014After a hiatus when you focused on A Split-Second you came back to TR. Did you see it as your best way of expressing your musical ideas?<\/strong><\/span><\/p>\n

\u2014Things changed for practical reasons. Geert went to university in one town, I went to another one. To continue was a bit difficult after that. I also had to move my \u2018studio\u2019 once again. Hence, I landed in Ghent\u2019s Top Studio, where TWR<\/strong> made some recordings. But I was also engaged already with another classmate of mine which finally resulted in A Split-Second<\/strong>. That became so successful that it ate much of the time. Geert was still involved as he made most of the cover artwork.<\/span><\/p>\n

In 90-91 I found a way to build a brand-new studio, this time with proper material such as a 32-track inline mixing desk and a 1-inch 16-track recorder. Having my own place again allowed\u00a0TWR<\/strong> to come back. I told Geert: \u201cIt\u2019s been a while, but let\u2019s try if we can still do it.\u201d And it went great. We started working on new tracks that resulted in a whole new Twilight Ritual<\/strong> album called Organic<\/em>, an album with a spot-on title. TWR<\/strong> guarantees artistic freedom, but lyrics and melodies remain always important. Freedom can also result in total mess, which is not TWR<\/strong> at all. It has to be good.<\/span><\/p>\n

\u2014How was working again as Twilight Ritual in Organic<\/em>?\"\"<\/strong><\/span><\/p>\n

\u2014Fantastic. We could not go back to the old days, as music has evolved, and so had the tech. So, we reinvented the band and wrote a completely different set of tracks eventually becoming Organic<\/em> but still 100% TWR<\/strong>.<\/span><\/p>\n

\u2014Any news about Twilight Ritual new material<\/strong>?<\/span><\/p>\n

\u2014You bet. There\u2019s a new album as good as ready to be released right now. Probably official by 2024.<\/span><\/p>\n

\u2014Linear Movement was first called Pulse Music, right? Why did you change the name? With that name you released the only cassette in 1982, right?<\/strong><\/span><\/p>\n

\u2014Pulse Music was the title of the first cassette, a C30, so 15 minutes each side. That\u2019s all we had at that time. I kept the title for the later album.<\/span><\/p>\n

\u2014Linear Movement was your more song-oriented\/pop project. Did you enjoy more composing experimental music or pop songs?<\/strong><\/span><\/p>\n

\u2014I personally enjoyed all projects I did, why else would I do it? But here\u2019s the thing: synths are all around. Creating sounds is still challenging, but the bigger challenge is to do something valuable with it. That what I wanted to improve with LMO<\/strong>: song writing, production, arrangements, those were the next things I needed to learn. Not that we didn\u2019t do that earlier, but I wanted to put more focus on it for myself. Just look at the complexity of \u2018Way Out Of Living\u201d. That\u2019s quite different from the early Autumn<\/strong> work, isn\u2019t it?<\/span><\/p>\n

\u2014You recovered the music of Linear Movement in 2003 with a compilation released on Micrart, just a couple of years before the interest in all the minimal wave movement. Did you ever think that your music was going to be trendy again?<\/strong><\/span><\/p>\n

\u2014Not at all, I just wanted to keep my old stuff a little bit alive. I needed to update the format on which music was shared. Vinyl albums were always very difficult, but now ad-hoc CDs became available, so that was the way to go. A pity you can\u2019t do that anymore today. But I do believe it paved the way for more people to find the music, eventually being picked up by major labels or initiatives. Never thought that would happen though.<\/span><\/p>\n

\"\"\u2014But I guess it was the Minimal Wave compilation that made you more famous. Veronica has also released an Autumn album. How did she contact you? Were you part in the selection of the tracks?<\/strong><\/span><\/p>\n

\u2014I think she sent me an email, just like that. At that time, she had her radio show in East Village NY, a place where we played live with A Split-Second<\/strong> a few times, years before. So yes, we assembled the tracklist together though she was the head editor. It did seem to have made waves in the newly formed \u201cminimal music\u201d world. So crazy, I saw a video recording of \u201cNight In June\u201d played in a Costa Rica dance place. And no-one wanted those tracks in the 80s \u2013 amazing!<\/span><\/p>\n

\u2014Are you planning to release more material (new or old) with the Linear Movement na<\/strong>me?<\/span><\/p>\n

\u2014Very tempting. I don\u2019t know yet. Most if not all old stuff has been released, so I\u2019m not sure what we\u2019ll do. Let\u2019s first see how the live show goes.<\/span><\/p>\n

\u2014Going back to other of your projects, in the mid-eighties you focused on A Split-Second. Was it too demanding or did you think that you had enough of the other three projects?<\/strong><\/span><\/p>\n

\u2014Well, at that time, the other projects were dead. Especially since Geert was too far away for his studies. And also, A Split-Second<\/strong> took all of my energy, but also allowed a fast growth in professionalism. I did the co-writing, engineered a pro studio, did the arrangements, recording, production, mixing and remixing. We experimented with the newest samplers (brand new tech at that time) and effects to make damn interesting tracks for the dancefloors. And we did it! I brought all that to the later works of TWR<\/strong> and Wasteland<\/strong>.<\/span><\/p>\n

\u2014Do you think that Flesh was an important release for the development of New Beat?<\/strong><\/span><\/p>\n

\u2014People told us it was. I don\u2019t think it\u2019s up to me to judge that, but hey, if you\u2019re considered to be one of the founders of the only musical hype from this country, who am I to say no? So yes, it left a mark, but I have double feelings about it. Only now, A Split-Second<\/strong> is being recognised for its true value, away from the New Beat hype from those days.<\/span><\/p>\n

\u2014Later you also produced some new New Beat singles as Pick A Number and New Busters, but you did not like the style very much, right?<\/strong><\/span><\/p>\n

\u2014Correct, I helped a few friends, did some side projects \u201cfor the fun of it,\u201d but I never liked New Beat. It was way too brainless if you ask me.<\/span><\/p>\n

\u2014What was your favourite A Split-Second material?<\/strong><\/span><\/p>\n

\u2014That\u2019s a tough one. A couple tracks stand out: \u201cFlesh\u201d of course, but I believe \u201cRigor Mortis\u201d is the eternal track. And of course, \u201cMambo Witch,\u201d \u201cFirewalker,\u201d \u201cColosseum Crash,\u201d \u201cDrinking Sand\u201d are evergreens.<\/span><\/p>\n

\u2014Why did you leave A Split-Second?\"\"<\/strong><\/span><\/p>\n

\u2014Well, it happens that people differ in vision on what to do next and want to go different ways. Today I\u2019m remastering the old tracks and finally making them available on the streaming platforms.<\/span><\/p>\n

\u2014Do you think that your other project Wasteland deserved a better luck? <\/strong>Are you going to have these tracks released again?<\/strong><\/span><\/p>\n

\u2014Ah yes, we almost hit the top with Wasteland<\/strong>. By missing a big deal, we kind of let it go, and that ended it. Unfortunately, because there were still many options. And yes, I plan to release all the tracks sometime. I\u2019ve got all the rights, and I\u2019ve got the opportunity to remix them too. I believe that\u2019s required as the old recording really start to sound old. And as a tribute to my old friend that died last year, great singer and songwriter Alain Allaeys.<\/span><\/p>\n

\u2014Another side project is Chayell Zen, where, as you said, you have combined your first love for cosmic music and your aim of making your children sleep. What can you please tell us more about this?<\/strong><\/span><\/p>\n

\u2014Well, that\u2019s something different. You know, I\u2019ve heard so many times that much of the music I\u2019ve made is \u2018visual,\u2019 belongs in a \u2018movie\u2019 of some sort. D(ayd)reaming is also visual, so why not? On the other hand, it may not be \u2018gratuitous.\u2019 Anyone can buy a Mac, launch Logic, and create a dreamy track. But that is not good enough. I like to put a twist in it, e.g. a totally distorted echo on a smooth piano.<\/span><\/p>\n

\u2014What can we expect of Peter Bonne in the future? Maybe a tour playing the Autumn material? Maybe next year at Ombra?<\/strong><\/span><\/p>\n

\u2014Linear Movement<\/strong> is planned for OMBRA this year, December 2023. I\u2019ve found Lieve (who did a lot of the singing back then) willing to join in again, and that\u2019s going to be really unique as we haven\u2019t played together for 40 years!! After that, who knows!<\/span><\/p>\n

\u2014And how is going to be your concert at Ombra?<\/strong><\/span><\/p>\n

\u2014Fabulous of course!<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Undoubtedly, the Autumn\/Linear Movement\/Twilight Ritual saga, was one of the most interesting and prolific adventures…<\/p>\n","protected":false},"author":1,"featured_media":56511,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[837,30,851],"tags":[558],"class_list":["post-56392","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-festivals","category-interviews","category-ombra-2023-en-2","tag-minimal-synth-en"],"yoast_head":"\nInterview: Linear Movement — El Garaje de Frank<\/title>\n<meta name=\"description\" content=\"Interviews — Interview with Peter Bonne from Linear Movement who is playing at Ombra in December in Barcelona.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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