When it comes to cool electronica and mesmerizing dance music, Norway’s Sienná never disappoints. So how cool is it that she is revisiting her catalogue to reissue a series of remixes designed for the dance floor? Very!
“Motions” is the first in this series – with more to come. Check out the exciting new video:
I asked Sienná what inspired these new mixes: “The very best part of being an independent artist is that you can do what you want when you want,” she said. “There´s no concept of ‘need.’ I felt like I wanted to release some re-mastered EDM remixes, and I got a distribution well suited for such groovy music as well. So simply I thought, why not! ”
Which songs are slated for remix/remaster? ” My current plan is to randomly choose one of the dance tracks I already have from my own discography, remix it, and release it – one release a month for a certain period of time. The first release is scheduled on 6th November, and the second one on 3rd December. I´m currently working on my 3rd remix/single for release in January 2018. ”
Can you tell me about the technical aspects of the remix?” I´m mainly using Logic pro x and Denon MC4000. Bit rate is typically 24-bit/192Hz. Traditionally speaking, my tracks tend to have so many layers of synths and pads, which I think is ok as production of original music. But I´m also trying to aim at distribution for live DJs this time. After performing as a live-act and DJ, I understood that it works much better to keep it simple live. So basically, my songs are going through weight-loss programs. ”
Besides the remixes, are you currently performing live, either as a solo act or as a DJ? “I´m mostly busy sitting in a studio for the remixes. And all the works around the releases like artworks, registrations, promotions etc. The sound engineering is what I´m really enjoying / eager to learn more at this moment. It should be fun to perform outside sometimes, of course. But I must give priority to something as we have only 24 hours a day. If I had to choose, I would love to produce inside more than perform outside more. It´s a phase.”
After leaving school at an early age, British-born DJ/ business consultant/author Cyrus Bozorgmehr traveled Europe as part of a musical collective staging rave concerts. These experiences, plus two decades negotiating projects in the business and art worlds, prepared him for a key role in the conception, financing and sale of Wu-Tang’s controversial album “Once Upon A Time In Shaolin,” the secret, never-heard single-issue CD set. The album, nine years in the making, packaged in a finely crafted metal and mahogany box with a 174-page parchment book, sold in 2015 for $2 million dollars to notorious businessman Martin Shkreli, who turned around and put it up for sale on eBay this summer. I spoke with Cyrus via Skype from his home in Marrakech, Morocco about his adventures and his new book “Once Upon A Time In Shaolin: The Untold Story of The Wu -Tang Clan’s Million Dollar Secret Album, The Devaluation of Music, and America’s New Public Enemy Number 1.”
How’s everything in Morocco over there? Cyrus: “It’s all pretty fluid to be honest, because I’m kind of self-employed, so it can vary. It can be anything from watching the latest [controversies] from Donald Trump’s America to actually doing some work.”
So what in your background prepared you for this adventure with the Wu-Tang Clan? Cyrus: “I left school at 16, never went to college, anything like that. I ended up quite heavily into the illegal rave culture for about 10 years and I kind of traveled around Europe doing huge warehouse raves and festivals, they were all for free. All very kind of idealistic at the time and countercultural. Weirdly, I did have, should we say, a fairly privileged upbringing, in the sense that my parents had lost all their money but we still had good connections. So those times that I would occasionally pop out to London and need to work I was lucky enough not to go and work in like Burger King, but I was lucky enough to get into opportunities like commodity broking, to working in a P.R. firm. I just kind of had these weird things. And one of the guys I met, when I was like 21, nearly 20 years ago, was the guy who invested in this.
Mr. S.? Cyrus: “Yeah, I know that this comes across awfully mysterious, he just didn’t want his name in this. I’ve occasionally done bits and pieces for him, where the idea that he was investing in didn’t fit any obvious business thing and had more of a kind of creative, music world, art worldly type bent. I’d done maybe six things for him. This was like the biggest, and I went fully native on this one, in the sense that it didn’t take long for me to stop feeling like I was really representing anyone. And just like being in the trenches with the other two guys. So it kind of evolved like that.”
So it all started when you met Cilvaringz at an art event in Morocco? Cyrus: “Cilvaringz, somehow, it was so weird, we met — Marrakech is not a big town, you know what I mean. It’s not the town that you would expect –I don’t think that I’ve ever been involved in a project internationally with somebody who ended up being from Marrakech as well.”
“I just didn’t buy him at all. Literally, He was looking all preppy, you’re in a Moroccan villa, and some guy..the thing is, you meet your fair share of hustlers here..both local and expats. Like the expat community here is full of people with a big, very difficult to prove story. I put him straight into this category.”
You didn’t believe him at first, you thought he was just a guy with a story. Turns out he was really affiliated with the Wu-Tang Clan. Cyrus: “Yeah, totally, I just didn’t buy him at all. Literally. He was looking all preppy, you’re in a Moroccan villa, and some guy…the thing is, you meet your fair share of hustlers here..both local and expats. Like the expat community here is full of people with a big, very-difficult-to-prove story. I put him straight into this category.”
Back to the ’90s for a minute. In what capacity were you doing the raves? Cyrus: “We were very much a collective, I grew up with a collective called Spiral Tribein the UK, so basically there were about 13 of us, everything from sound technicians to lighting guys. We had a mobile studio, releasing records and playing live electronic music, back in the days when it didn’t all go through a computer. You were playing a mixing desk. It was great. I used to love it . I used to have a Mackie 16 channel mixing desk, drum machines, synths, early samplers, the first Akai MPC that came out, all of that. We basically used to travel around, you basically break into a warehouse and fill it with three or four thousand people. And just do it till the cops came.”
Maybe this is why you resonated so well with this project designed to put an emphasis on the devaluation of music. RZA said he really believed that they were making something that would be like a Picasso or the Mona Lisa. Cyrus: “I mean, I’m slightly more skeptical than that. I wouldn’t go that far, I’d hesitate to compare it to a Picasso or something like that myself, but I do think it was a really important symbolic point….weirdly enough, my experience in the illegal rave scene informed a lot of my opinions on this. We had this very idealistic creed, no one payed, there was a donations bucket on the door, it wasn’t about profit, and actually, over the space of about 10 years, I saw that get very badly abused. Where you were then judged – the more you gave away for free, the less people valued it. The more they just kind of expected you to – if you went a played a club gig to supplement your income, you were somehow a sellout. People … didn’t want to pay five bucks to support the people who were doing this. So a lot of this informed how I felt about this.”
“I’d hesitate to compare it to a Picasso or something like that myself, but I do think it was a really important symbolic point….weirdly enough, my experience in the illegal rave scene informed a lot of my opinions on this.”
The concept is partly about the lack of economic structure for musicians and artists. Cyrus: “And just the weird psychology that when something’s free, people stop valuing it. They don’t think, ‘oh wow, this is free, that’s really nice of them. This is great, I’m really going to appreciate this.’ It somehow erodes the kind of value you put on that. In an experiential way. Which is really weird.”
What became of the rave scene and your involvement in that? Cyrus: “I never made the transition to computers. I had a Novation Bass Station, one of the early [Korg] Electribe synths, a Digitech Quad effects unit, an Akai MPC, a Boss 660, that kind of stuff. But after that to be honest, the difference was I think, production quality became as important as musical quality. And that’s when, in the ’90s, especially with dance music, you didn’t compress every last snare and high hat, you just got on with it…My relatively recent stuff is mostly DJ stuff [under the moniker ‘Sirius’], because I never really got properly back into the production.”
“And if you look at the way Martin behaved with us, he never screwed us once. He always kept his word. Meanwhile, he’s doing things that I find morally outrageous, and that’s a real dichotomy. A real dichotomy.”
One of the many things I liked about the book, is when you characterize people, even Martin Shkreli, you humanize him, you changed the way I felt about him. I actually felt sorry for him. Cyrus: “It was really weird, I’ve often found this. It’s one of those things I think that when you grow older, you accept more and more that nothing’s black and white. When I was 25, I saw things very much in binary terms. Things were good, or they were bad, or these guys, it was us and them, it was all of that. It was also the fact that we were tied in with him. We did sign this contract, and we were going to have to work with him. No matter how much of a clusterf**k was playing out. And like so many situations, when you’re looking at someone in the eyes, and you meet them personally, generally it doesn’t completely gel with either their public perception or even their actions. It’s one of those really weird things. And if you look at the way Martin behaved with us, he never screwed us once. He always kept his word. Meanwhile, he’s doing things that I find morally outrageous, and that’s a real dichotomy. A real dichotomy. But equally, I found a lot of his conduct pretty similar to what a lot of other pharmacy companies were doing, but they were just a lot more discreet about it. And I think there was a lot of hypocrisy there, matched only by his desire, you know, to become the poster boy for it.”
“It’s really weird, I had more empathy for him, cause I wrote the book, very shortly, at the end of 2015, I think that’s why it comes across that way. I’ve had a lot of criticism, ‘this isn’t journalism,’ but I’m not pretending it was. This is a memoir. And so it is emotional, it is skewed, it is a perspective, I’m not pretending to analyze this from every possible side and being really objective. It’s kind of a story that I would tell my friends over three bottles of wine sort of thing.”
You had this experiment to see what would happen to the album if it was a priceless single copy release. How does the sale by Shkreli on eBay in September change the outcome of the experiment, or validate or dis-validate it? Cyrus: “It’s a really weird one. I think there’s several things. One, I guess the fact that there’s people out there paying money for it still — seven figures for it, I guess that’s a validation. It was always going to be an open question especially with Martin Shkreli as a buyer whether this had any resale value at all. Or whether this was just going to be kind of ‘oh this is in the news, I’m going to buy this,’ but as for reselling it as a piece of art, it will retain investment value, that wasn’t sure at all. I’m not sure what’s happened around this sale, because he went to prison the day before the thing expired, I mean that was just drama you couldn’t script. I think now the people who won the auction are wondering what the f**k’s going on.”
“…. it kind of went from high culture to popular culture. And I think the eBay thing ties into that. I quite enjoyed seeing that happen. It was like another random twist to this whole thing.”
Did the eBay sale cheapen the mystique? You guys started out talking to Sotheby’s, and Christie’s and it ends up on eBay? Cyrus: “I think it would have done, when we were doing it. We were using a set of symbols that were making a point. I think now that Martin’s got it, the whole thing’s gone so bizarrely tabloid anyway, that in a weird way, what I liked about it, something I say near the end of the book is that it came out of our very tightly controlled shaping of this concept, and then once it got sold and suddenly there’s memes, and fake Bill Murray hoax clauses, and all kinds of crazy sh*t, and Martin Shkreli’s calling people out, it kind of went from high culture to popular culture. And I think the eBay thing ties into that. I quite enjoyed seeing that happen. It was like another random twist to this whole thing. Yeah, I was alright with it. I don’t think it always needs to be with those high end mahogany hallmarks, it’s almost like it’s into a new phase now.”
In your book, you compare selling the album to an Edenic loss of innocence. How did that play out? Cyrus: “It’s a really weird one. It’s a strained metaphor again. There was conflict around this album. Not everyone was happy that performed on it. How it panned out. I can’t pretend that it was paradise from the beginning, it definitely did the transition from our high ideals sort of thing, which probably did need a certain amount of piercing, I think that’s fair, just going from that, to when this was all just an idea, and an idealistic one, to like the poster boy for the evils of capitalism getting involved and this almost anyone who’d been skeptical about this project from the start suddenly just had it all reinforced by the fact ‘of course a complete @^$% bought it, who else did you think was going to buy it?’ There was a lot of that.”
What’s your role on the album? Cyrus: “I play a spoken word thing, a very short segment, pretending to be a news reporter. It was like a news report with sound effects in the background and stuff.”
Along the way, there were a lot of lucky breaks and saves, especially around the airport at JFK and stuff. Was the whole project blessed in a way – you just told me that it wasn’t perfect, but the Wu-Tang Clan must be really lucky in a way, that things seemed to come together for them. Cyrus: “Yeah, it was an interesting one, a lot of people think that the Wu-Tang Clan, all of this, it’s like a great big commune, it’s not really. They performed on the album, RZA has always basically decided how things get marketed, sold, he controls the name, etc. So there were almost two phases to this. There was the production of the album, which I didn’t have much to do with. Then there was the conceptual side. From ‘should we do a single copy?’ to how this was actually going to work. And I think a lot of the other members of the Clan left it up to RZA and Cilvaringz and then by extension me, to kind of handle this, but they hadn’t fully signed on for all the blowback. I think in one way it’s been great publicity for the Wu-Tang Clan, if nothing else — it’s been straight on the cultural icon map since the story came out. But I think a lot of them kind of felt, slightly, that they’d been associated with someone or something that they didn’t want to be, that they didn’t really get consulted on toward the end, do you see what I mean?”
“Everyone got paid what they asked; if the thing hadn’t sold, everyone would have still been paid, and the only ones out of pocket would have been RZA and Cilvaringz. There is an element of ‘who takes the risk?’ involved.”
There have been recent rumors that it’s actually a Cilvaringz album. Is that accurate in any way? Cyrus: “To be honest, that’s just utterly sensational journalism. If by that, they mean that Cilvaringz produced the album, well then yeah. That was never any secret. If they mean by that, did they know at the beginning, no one said ‘guys, we’re going to sit down and make a Wu-Tang Album,’ that’s not how it happened – it evolved. And I mentioned that. It’s a production thing. All of the Wu-Tang Clan are on the album. It is a Wu-Tang artist album.”
Did Mr. S. get his money back? How much did he invest? Cyrus: “Yeah, he did! He got his money back, plus a profit share. This is the other thing that everyone likes to say. In that Bloomberg article they were making a point. They had implied that RZA and Cilvaringz kind of wandered off into the sunset with a cool two million dollars. And that’s just not the reality of it. It cost several hundred thousand to make, Mr. S. didn’t come cheap, his profit margin was significant, there was money given to charity, there was money given to the guy that introduced Cilvaringz to Mr. S, there was money given to me. There was no two million dollar payday, you know what I mean. These guys, the Bloomberg journalists, I was quite disappointed in the way they’d done it….Everyone got paid what they asked; if the thing hadn’t sold, everyone would have still been paid, and the only ones out of pocket would have been RZA and Cilvaringz. There is an element of ‘who takes the risk?’ involved.”
Can you tell me any other guest stars on the album besides Cher?Cyrus: “The Red Woman [Carice van Houten] from Game of Thrones, Barcelona Soccer Players, again it was just one of those totally organic things. The Barcelona Football Team, Soccer Team happened to be backstage at a concert, and it wasn’t like a list of let’s get all these people on as guest stars, it kind of happened organically.”
Can you tell me a funny story that didn’t make the book? Cyrus: “I kind of put it all in – funny stories were kind of factored in as part of the book.”
So how do you top this adventure? Cyrus: “I haven’t got a clue, I swear. I ended up writing The Syndicate because I had kind of the post-Shaolin blues. This happened and got sold, and I wrote a book, then I got a publishing deal, but then there was like a year and a bit of just waiting. And I got really depressed in that period and wrote another book, and you know, my other project’s pretty good, my other main project is company called Arcadia, we’ve got a 50 ton fire-breathing spider built out of recycled military hardware with a kind of Cirque De Soleil style performance show. 50 foot fireballs, lasers, lights, a 360 degree sound field, if you Google ‘Arcadia Glastonbury,’ you’ll see what I’m talking about. We do Miami Ultra every year. It’s like a stage/sculpture/installation.”
Can you tell me about your novel The Syndicate? It’s about this philosophical anarchism that you hint at in the Wu-Tang book?Cyrus: “Yeah, it’s very much like that. I guess that I took an idealistic version of the illegal rave scene in the UK in the early ‘90s. which was very much counterculture, it was very much kind of about kind of revolutionary political models, about taking back public space, and anti-corporate and all of that, and it was a very idealistic movement that kind of managed to self-destruct over time. And I kind of noticed, that this idea was the exact mirror of the early development of the internet– that was this kind of radical, decentralized, open source kind of space, where no one was charged, there was no guiding hand, and this was supposed to be this new liberating paradigm. It kind of half is, and it half isn’t, so yeah, it’s just an exploration of those two things, with plenty of humor and that kind of thing.”
Thanks to Cyrus, and to Steven Boriack at Flatiron Books for setting this up!
With the launch of her very own Vevo channel on YouTube, The Analog Girl releases her fourth video from her groundbreaking 2017 album “Golden Sugar Crystals.” The lyrics for “A Circle” represent moving forward after adversity , and in that spirit, the video features charmingly analog footage of surfers performing amazing feats, and sometimes failing. After all, it’s not how many times you wipe out, it’s how many times you get back on the board that matters.
In their abstract, poetic way, Mei Wong’s lyrics reflect on the cyclical nature of change.
“And it’s moving out in pieces As it goes through all the phases Past and present in the future Does it feel like it’s a circle?
No time for regrets It’s starting to feel a part of me It pulls as you push I’m under your spell now can’t you see”
Norwegian EDM artist Sienná has a lot going on. Her latest album, the breathtakingly complex “Q.o.S.,” released in April, is a one hundred percent solo effort and the result of an adventurous separation from the producer and band she has worked with regularly over the years. In fact, since her migration from Japan to Norway more than a decade ago, Sienná ’s life is one of change and creative exploration. With her recent foray into DJ work, Sienná begins yet another chapter in her musical life.
In May, she spun some beats at the legendary Cavern Club in Liverpool, where John, Paul, George and Ringo got their start. Sienná ’s set included Beatles’ tunes intermixed with her own irresistible hybrid of dance and ambient electronica along with house music. To hear just how amazing it sounded, check this out:
Fresh off this opportunity to perform at the origin site of her heroes, Sienná answered some questions to shed some light on the DJ trade for Synthbeat.com . Here goes:
So DJ is essentially now a genre of music? What exactly does a DJ do? Sienná: “A DJ mixes different sources of pre-existing recorded music. A DJ may choose to play recorded music as it is, or may divide a song into bits and pieces to mix and loop. I see that DJ music could be a genre, especially when a DJ manages to create a whole different song from the ‘bits and pieces.’ It´s based on arranging skills. You could also add extra imaginations anytime in many ways.”
“The most important preparation as a DJ first of all, is to prepare a playlist that contains an excellent selection of songs with good sound quality. And I think it helps to ‘know’ the songs well enough in advance. Then I could do something like, using song’s original structure effectively – and adding some effects to it at the right time. Or I could also do something like selecting a loop to keep the groove rolling – and mixing other songs/adding effects when suitable etc. There´s various ways to DJ.”
How much of the DJ biz is improvising, and how much is simply playing a playlist? Sienná: “A DJ has a playlist, like you have on iTunes. A DJ may choose how to deal with the playlist. Some DJs may follow pre-programmed playlist, like some rock bands follow their set lists on stage. Although, some DJs may perform like improv Jazz bands in a way, do freestyle out of what they have on their playlists. Personally I prefer having max 2-3 songs just to start with, but no plans after that. It´s more fun this way, and also easier to watch and follow what’s happening right in front of me on the dance floor.”
“I remember an amazing DJ like Four Tet started to loop a short unidentifiable part of a very popular song first, gradually and naturally built up – and much later, he revealed which song he actually was playing. It was fascinating to experience his process – almost like music quiz – and to see how people reacted when they finally found out ‘Ah! Of course, that was the song!.’ I also remember particularly DJ Todd Terry created a perfect break at the very rightest time – he literally made ‘everyone’ (like 300 people) there to jump all at the same time. I believe a good DJ is so amazing at ‘timing’ and manages to create some magical moments like that. When it happens, you really get a boost of adrenaline.”
So when did you first get the idea to add DJing to your repertoire? Sienná: “I replaced a drum machine with a Linear Wave sampler (Roland SP-404SX) in 2012, so I could interactively control drums and some effects/loops while I sang and played keyboards on stage. My band/trio was consisted of Jazz musicians at that time. So, I could impulsively make them a space for free improvisation without striving at all. The size and weight of the sampler was extremely convenient too. I´m still using the same sampler, because it just adds more freedom and options to my DJ-set.”
So how do you integrate different types of music, or your own sounds, into the playlist of songs? In other words, how does new music by Sienná mix with the classic rock, or whatever sounds the audience is expecting to hear? Sienná: “Songwriting and DJing are two separate matters for me. I´m a songwriter first of all. DJing is my way to go out of a dark studio and to perform the music outside for inspiration and fun. So my music is there, ready to be played like any other songs on my playlist. The only difference is that it´s much easier for me to use my own music, as I naturally have perfect knowledge of what´s going on within the songs from before.”
“I personally have nothing against mixing various genres. I´m focusing more on ‘grooves.’ It was fun mixing The Beatles with house music though. Their music I think is quite psychedelic especially after the album ‘Revolver.’ So I coincidentally found some weird guitar loops that worked well on my live mix.”
What interesting equipment do you have? Do you have synths or trigger pads or anything else that let you improvise? Sienná: “I have a tiny handmade Theremin that my father made for me once, and I can use it anytime. But normally I use just Denon MC4000 connecting to a Macbook Pro with Serato DJ, Roland SP-404SX and sometimes also to a microphone. If I perform as a live act, I could also bring my E-Mu Shortboard in addition.”
The DJ biz has evolved from what was previously a couple turntables to what it is now. Is Beck out of date, “two turntables and a microphone?” Sienná: “Oh I love Beck! But no, I cannot see anything is out of date. It´s said that the very first musical instrument was the human voice. It´s not outdated to sing, is it? Or how about an orchestra? I think good music is still good regardless of the selection of methods. An instrument is just a part of serving its creative purposes. Time changes, so as circumstances.”
The list of Beatles’ tunes Sienná spun into her set at the Cavern Club on May 31st: Taxman
Tomorrow never knows
Sgt. Pepper’s Lonely Hearts Club Band (Reprise)
Back In The U.S.S.R
I Am The Walrus
We are glad to report that one of our favorite Slovenian electro-punk bands, Kontradikshn, is busy touring this summer. Since the beginning of July and through October, frontman Petar Stojanovíc and the boys will hit stages in Slovenia, Bosnia and Herzegovina, Czechoslovakia, Germany, Poland, Slovakia, Hungary, and the Ukraine. And they seem to be loving it. In July, Stojanovíc wrote, via email: ” Yes, we have a lot of dates for this year, can’t really wait for all of them! This weekend we already had first open-air experience and it went great!”
In addition, Stojanovíc told me that the band is currently writing and recording songs for the follow-up to their debut album, “Reframing.” He writes: “We recorded 4 new tracks – raw drums, synths and guitars and are planning to record 6 tracks more in August so the new album is already in the pre-production/recording process.” That’s excellent news!
In related Slovenia music news, Karmakoma frontman Enej Mavsar recently told me about his new guitar punk band, Suzi soprano (lower case spelling intentional). Find out more about this exciting venture at www.punkrockbeat.com .
Electronic music diva The Analog Girl just released her new video for the single “Mountains” off her fourth album “Golden Sugar Crystals,” – and it’s a stunner. While glorious images of majestic mountains are displayed, affirming positive messages also appear, from the likes of Rumi, Maharishi Mahesh Yogi , Jack Kerouac, and ABBA among others. Coupled with the melancholy, warm analog beauty of the tune and the gorgeous images, it’s a worthwhile way to spend four minutes.
Aside from their universal meanings, the uplifting quotes in the video have personal meaning to The Analog Girl, aka Mei Wong of Singapore, who worked her way through tough times while creating the recent album.
She writes, via email: “I picked inspirational and lyric quotes that particularly lift my spirits during dark times. Through the writing of ‘Mountains’, I also came to realise that the universe is so much more than what’s harbouring inside our minds and that we shouldn’t be held hostage by people’s intimidations and one’s own fears. I sometimes write in a visual manner, and as I revisited one of my all-time favourite tracks ‘Eagle’ by ABBA, I pictured myself soaring through the limitless skies above what seem like treacherous (but at the same time, kind and protective) mountainous terrain. And that imagery is reflected in both the lyrics and music video.”
I sometimes write in a visual manner, and as I revisited one of my all-time favourite tracks ‘Eagle’ by ABBA, I pictured myself soaring through the limitless skies above what seem like treacherous (but at the same time, kind and protective) mountainous terrain. And that imagery is reflected in both the lyrics and music video.” Mei Wong, aka The Analog Girl
Wong’s growth is apparent throughout “Golden Sugar Crystals,” with its reflective and personal (yet still somewhat abstract) lyrics and enchanting electronic pop songs. The lyrics to “Mountains” emphasize the “you are what you think” aspect that makes inspirational literature so useful and important:
As the sun begins to shine upon the earth you’ll start to know The world beyond you We can ﬂy across the universe and wave our fears goodbye If you know how to
Too much to make it last Too little to be found It’s all within your heart Just open up and see this
Since releasing “Golden Sugar Crystals,” in addition to overseeing the production of videos (she created the video for “Mountains” herself) she finds her tunes in high demand on digital platforms. She writes: “I’m really enjoying the release of my latest album. 5 years since my last album is a long time. Didn’t realise the landscape has changed that much. I have a whole lot of support from my distribution team as they have an office now in Singapore and it’s been so much fun working with them, Apple Music and Spotify. Streaming is such a huge thing now and it makes every release that much more timely and responsive. Keeps it fresh for everyone.”
Find out more about Mei Wong and The Analog Girl at these links:
Just in time for summer and the full force of its heat, The Analog Girl releases a video for her super cool tune, “More Than You Know,” the second single from her latest album, “Golden Sugar Crystals.” True to the song’s 80s sensibilities, the video blends the uncertainty of romantic love with fashion, thanks to some strange images created by London-based artist Laura Shepherd, who goes by the moniker LS528 (and whose designer gloves have been worn by Lady Gaga in her video “Paparazzi,” as well as by Madonna, Kylie Minogue and others.)
The music scene of the 1970s offered a decade of glam fashion and punk anti-fashion, while the 80s brought the partnership of music and fashion to new levels while borrowing from everything that came before, presenting nostalgia and futurism at the same time. The Analog Girl’s debt to the 80s is well established; “More Than You Know” features 80s inspired synths and beats that intentionally refer to the fashion catwalk in retro-futuristic style.
I asked The Analog Girl, aka Mei Wong, what the song is about: love, passion, infatuation? “The concept for the song is exactly what you described,” she writes. “I guess in this order of friendship, turned infatuation, turned passion (but not obsessive), and the whole unexpected / unsure feeling of falling in love, and as a result feeling all vulnerable.”
When Wong came across the video art of London-based visual artist LS528, whom she met at a 2007 performance in London, she approached her about using some of her animation for the video.
It started when I saw her online posts of 3D fashion animations that she was creating, and they instantly blew my mind.” Mei Wong, about Laura Shepherd
Wong explains: “Discussions with Laura – It started when I saw her online posts of 3D fashion animations that she was creating, and they instantly blew my mind, and were such a great fit for my second single ‘More Than You Know,’ especially since I wrote that beat with the fashion runway in mind. I also love that they were not just straight-on fashion but embody a pop art feel, abstractness and surrealism. Also especially fitting in with one of the album’s themes surrounding the illusion of reality.”
Hear more music from The Analog Girl at the links below!
Sienná, the captivating Norwegian electronica artist, has just released her second video in two months, both from her new release, “Q.o.S.” Each is quite different, yet both are equally difficult to define—just like Sienná’s stylish musical creations. I asked her for some insight into their creation and meaning:
The first video, for the groovy dance tune “Quintessence,” was created by TrustStudios UK and released April 5. It features a rapidly-changing array of diverse images, including some jarring images, others esoteric, based on Sienná’s concept for the song. She writes: “The only request I had for the video director was to be ‘dark,’ as ‘Quintessence’ in general is related to the idea of dark energy. I like the abstract, metaphoric images that can widen your imagination with no sense of what´s right or wrong.”
I asked for more information; Sienná clarified it for me this way: “A video with a clear story line can sometimes limit your imagination. It’s up to you how you perceive a ‘Quintessence’ type of abstract video. ‘Dark energy’ is what I had in mind when I wrote it, but not necessarily what/how you perceive it. And dark energy doesn’t necessarily mean anything to do with morality, but could just mean ‘light/dark’ or something ‘unknown.’ That´s a matter of free association.”
Aha. I get it now. Whatever your particular interpretation of it, the “Quintessence” video offers lots of sonic and visual treats that act upon the imagination in interesting ways.
The most recent video, created in India and released May 12, is for the tranquil, ambient “Iwashimizu” and based on ideas that came to Sienná while reflecting on her hometown, as well on as a scenic spot in Britain. She explains: “The ‘feeling of being home’ came after I added some Japanese instruments to the song. I told my video director briefly where my original inspiration came from – which was me sitting by the Ouse river, looking up to the clear starry sky in a little town Lewes (UK). He had a freedom to interpret my basic ideas as he liked, but also picked up the mood quite well. “
Liverpool and Sienná’s DJ Set
In additional Sienná news, she will be playing at the historic Cavern Club in Liverpool, England, on May 31st. “It´s time consuming to tour, ” she writes. “I’ve started to spend even more time on songwriting and production, so I’m trying to focus on quality gigs instead of accepting everything and anything. Only The Cavern Liverpool this time. Not often they let any DJs or electronica artists to perform there, so I must be very lucky. “
“I tend to say that my favorite Beatle is Sir McCartney. But I’m mostly in love with the works he did together with The Beatles. The Beatles were a pure divine magic. I wish I lived in the ’60s.” Sienná
As The Cavern is the club made legendary by the Fab Four, I couldn’t pass up the chance to ask Sienná that eternal question, “who is your favorite Beatle?” Her answer: “I tend to say that my favorite Beatle is Sir McCartney. But I’m mostly in love with the works he did together with The Beatles. The Beatles were a pure divine magic. I wish I lived in the ’60s.”
I also asked her about the format of her DJ set. “I’m performing my own music and impulsively mixing any good grooves that I have on my playlist,” she explains. “As a DJ I feel that my main responsibility is to watch and follow what´s happening on the dance floor, so I really don´t plan anything particular in advance – except preparing for my playlist.” Sounds like a great time!
We know Gilles Snowcat as the energetic, polyglot creative musical force with roots in Belgium, Vietnam and Japan, for his brilliant lyrics and proficiency on several instruments, including genius level keyboard skills. But before Gilles appended his name with the Snowcat moniker, there was a younger Gilles, founding member of the Brussels-centered European/Vietnamese Hybrid “Awaken.”
Aside from traveling the world collecting experiences to write songs about (beginning in the ’80s with Awaken and culminating in 2015’s “Nama Time”), Gilles is also a sharp critic of rock music and culture. I asked him to comment on his 1989 tune “Memories of a Teenage Cat,” which was just re-released on Bandcamp in its original form, and asked him about the tune’s connection to the origins of the Snowcat persona. I got much more than I bargained for, including a lengthy critique of popular music in the 1980s and ’90s. Check out his provocative thoughts, and the classic tune below!
(Note: The Snowcat’s opinions are his alone. I for one am a big fan of U2!)
Q. Is this the beginning of your transformation into the Snowcat being?
Gilles writes: “The Snowcat exists since he’s born, though I can locate the explosion, the big-bang that made him come alive for real early, very early 1988. 1987 was when he tried to pop out, and suddenly 1988 came and so did the Snowcat. It was exquisitely exciting, because from that moment on everything became a song. Life was a huge source of inspiration, and in return songs inspired life, and that’s how the early Snowcat grew.”
“It was exquisitely exciting, because from that moment on everything became a song. Life was a huge source of inspiration, and in return songs inspired life, and that’s how the early Snowcat grew.” Gilles Snowcat
“And the music was organic, since my understanding of music was rather low, and my ambition was devouring and set up too high, so I had to suck lots of energy from reality to create what I wanted. That’s why the early songs are full of magic, they’re very much libido-driven, that kind of beautiful sadness, romanticism and mixes of alcohol. It had a lot to do with seduction too, and huge buckets of fun and spleen. Strange cocktails. That’s why I still love that early take of “Memories Of A Teenage Cat”. There was a technically much better version [in 1996] but it had lost the spark. F@#%ng ’90s…”
Q.So what were the ’80s like for you? Please reflect.
Gilles: “The ’80s were the last decade of creativity, musically speaking. It’s the last part of what started in the cotton fields, that led to jazz, evolves into rock, then all the fusional music of the ’70s and then the synthesizers and all that crazy stuff. It was meant to be mostly commercial and still wonderfully out of control, the sounds were out of this world, the Fairlight, the DX7, all those machines created incredible moods. You like it or not, but you can’t deny there was a real substance to it. It’s the best evidence that money and art can work together pretty well.The ’80s were a wonderful boom of excesses, it was all too much but in the most superb way. An elegant decadence, a party that goes too far but if it doesn’t go too far it goes nowhere.”
“The ’80s were a wonderful boom of excesses, it was all too much but in the most superb way. An elegant decadence, a party that goes too far but if it doesn’t go too far it goes nowhere.” Gilles Snowcat
“Then the ’90s came and the party was over. Like someone had decided to remove colours and taste from music, as if it was too dangerous. And suddenly safe music was born, and art should never be safe, so it was a very bad move. The ’90s created condom-music.”
“Most of the radio-friendly stuff of the ’90s and beyond are terribly boring. You hear the first chords of anything from Natalie Imbruglia or Oasis and it screams boredom, it pours safety from every note. Or Joan Osborne, you know ‘One Of Us’? Same chords.”
“Sure there was some uneventful music in the ’80s too, Simple Minds or U2 to name a very few, but it wasn’t the rule. In the ’90s, it was. It seems that no one was able to write songs anymore then. Some say the ’90s were a return to the guitars of the ’70s but it’s complete bullsh!#. There’s nothing interesting in the guitars of the ’90s, just dull chords played boringly by some idiots who got a recording contract for reasons that I don’t really get. Even those who seemed to have an attitude and good ingredients were just releasing inoffensive, safe sh!#. Look at Oasis, how come with such a good background and great ideas the result was so annoyingly normal? Yes, that’s the word: music became normal in the ’90s.”
There’s something very exciting happening in new music from Oslo, Norway. Sienná, the singer/songwriter/instrumentalist/studio whiz and now DJ has gone solo for her fourth full length release, leaving her band behind, to create a new set of songs in the nu-jazz genre. She immersed herself in the studio for a couple years to create an album that’s difficult to define: jazz is really just the starting point. On Q.o.S. there are various permutations of techno, ambient, world beat, electronic psychedelia and avant-garde, and a powerful experimental impulse that makes it a joy to listen to.
From the first song, the esoteric, ambient “Yes,” Sienná’s masterful composing and mixing skills are evident; next is the electro-psychedelic jazz funk of “World Citizens,” which then leads to a set of synth-driven world beat tunes incorporating her Japanese heritage in the form of samples of traditional instruments, primal beats and chants, and top-notch keyboard work. The breathtakingly diverse songs are stunning examples of musical cosmopolitanism, and very unique contributions to the electronica genre.
Much like the tarot card that inspired the title, the release evokes mystical, powerful ideas. I admit I didn’t know what the title meant at first.
“It could be ‘Quality of Service,’ ‘the god of the Edomites,’ hahaha or whatever (your) interpretation is,” Sienná explains. “But mine comes from an amazing tarot card reader from the UK whom I speak with a few times a year. She said a Queen of Swords represents my personality. And my music is a double edged sword, isn´t it? :)”
“I feel free like a bird and very happy about this. This is a completely new chapter for me.”Sienná
Indeed, there is a duality on Q.o.S; many of the songs have a strong dance beat along with some trademark Sienná moves like energetic funky bass and primal chant vocals — all designed to get your feet moving, while a handful of tunes represent Sienná’s reflective side in ambient, down tempo numbers that affect the heart and mind. Both varieties feature exotic instrumentation and intriguing samples of vocals and ethnic instruments along with mystical, wordless vocals by Sienná. I asked her if Brian Eno was a conscious influence.
“I guess so,” she says. “ I´ve been listening to Brian Eno occasionally, but I´ve been an eager fan of the next generation (like Ryuichi Sakamoto) who interpreted Brian Eno further – so, does it make me ‘the third generation?’ I can absolutely notice where the traditional roots are originally coming from, though.”
Under Japanese Influence
As a Japanese expatriate living in Norway, who as a child rebelled against family expectations to become a musician, Sienná returns to her own roots on Q.o.S. with a series of songs that reflect her Japanese heritage. Is this nostalgia for home or an affirmation of her heritage? I asked her.
She explains: “Yes both, and the concept. Somehow I decided to make three songs relating to three major festivals around the major historical shrines around Kyoto (‘Iwashimizu.’ ‘Aoi’ and ‘Kasuga’). But I must admit, the inspiration of ‘Iwashimizu’came originally from a moment when I was in a little town named Lewes in East Essex, UK. But later, after I added some Japanese instruments etc, feeling of the song was something similar to what I feel about the place ‘Iwashimizu’- home (until I moved to Norway in 1995).”
This trilogy of tunes, as well as “Sixth Sense” (with its incorporation of traditional Japanese texts and folk melodies) and “Eastern Plays” (which features a moving display of taiko drums along with vocal chants and cutting edge electronica) combine dance music with traditional Japanese influences, resulting in a long set of electronica that excites one’s dancing impulses and one’s mind at the same time. For example, the playful “Follow My Instructions” is just the kind of avant-garde dance number that’s ideal for club action.
The album is the result of years of experience on the stage and in the studio, to the extent that it represents a synthesis of music theory and performing skills that have become second nature. Sienná explains: “There´s no theory or conscious approach, except an approach that I feel is good, true and correct for me, even though it wasn´t for most people/musicians. While I spend time with my unborn songs, I make many changes to make myself happy. So I guess you´re just listening to the result of a long process of my self-improving (if it wasn´t my self-centeredness – which I´m allowed to do so only in my music, not in reality.)”
Q.o.S . is a true solo album: Sienná is responsible for every aspect of its creation, a departure from the ensemble she had worked with on previous albums and in live performances. “Only me now,” she explains. “We are all good friends. But the circumstances around us changed dramatically. It doesn´t make sense for me to be a part of the team anymore. I did all the work (songwriting, performing, producing, mixing, mastering and designing album cover) by myself alone. I feel free like a bird and very happy about this. This is a completely new chapter for me.”
Sienná’s setup includes heavy use of the Roland D-50, both for its sounds and as a MIDI controller connected to Logic Pro X software on a MacBook (which she also uses in her role as a DJ). Her favorite plug-ins for Logic Pro X are the ES2 and Alchemy soft synths, and the Drum Machine Designer. Lots of samples abound. For example, the incredible taiko drums on “Eastern Plays” were achieved by using a blend of sounds from Drum Machine Designer and actual taiko samples Sienná recorded in Kyoto from 2005 to 2009.
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