Is that a fair assumption? When I hear something and I think, ​“Shit, I wish I’d done that.”. What’s happened since then, is a faster and faster rate of harmonic change into a lot of recent pieces, which is sort of inevitably what happens. If I ever get safely back to the East Coast, we’ll do that. You’re not thinking about it – I may be thinking about a piece or I may not, but these other things are happening and they will, absolutely. The Face Magazine - How The 1975’s new video calls for AR anarchy - The pop rockers invited fans to fuck around with facial AR technology for their new music video, People. Want to hear more of these? But within that, well there’s that… I think it was Pasteur who said, ​“Chance favours the prepared observer.” And my version of that is, luck is being ready. I found it interesting because the way that my band is set up is very much a back and forth between me and George, and like you say, in those kinds of collaborative relationships there’s normally one who makes a lot of noise and normally one who, I don’t know, makes sense of that. Want to hear more of these? So to hear you on the phone is like, who is this guy? Music never really had a subject, music is and always has been an abstract form of art. So people like Riley and Glass and Serra and Snow and myself were tuning in to the same station. And that idea is, as I was just explaining, is the idea of taking the composition back a step from, ​“I’m the person who designs precisely how this piece of music will sound,” to ​“I’m the person who designs the machine or the system that will make this music; and the music will be something that I didn’t exactly predict.” So that’s it, those are my two ideas. Sure, yes. He had a very good record of solving crimes, and the person writing the book I was reading said, ​“So what’s the trick?” and the detective said, ​“My rule is if you do a double take, do a triple take.” So he’s saying, if something catches your attention, don’t pass it by. Okay, a couple more things Brian I just want to talk to you about. But I was going to say, when I am next in New York, it would be lovely to maybe grab some dinner and talk about the number 12. Anyway, we were working on that piece and we had each pulled an Oblique Strategy, and the rule was that we didn’t let the other person know what our particular Oblique Strategy said. You said, ​“You pay attention to the things that make you envious.” I know exactly what you mean there. So that’s… I’m really pleased with that. So all the elements of the piece of music are kind of bolted together, they’re working in consult with each other, and that’s generally the definition of music. I wish I had, but I didn’t. I was just wondering if, for me, obviously your music is so interpretative, but it feels so much like being in the centre of a cosmopolitan place, or it feels very much in tune with life and movement and the passing of time. By the way, you probably don’t know – about the time that I met Johnny Greenwood, it was in Krakow, Poland, and one of the other luminaries there was Aphex Twin. And, it turns out, he’s a big admirer of The 1975. Press question mark to learn the rest of the keyboard shortcuts I was just wondering, I don’t know if it’s before or after you went to New York – you spent time as a taxi driver in San Francisco and stuff like that. It’s a way of sort of creating, well, I’m trying to think of a way of saying this that will make sense to people who don’t know about MIDI. What’s quite nice is that I can see now, I think because everybody’s being driven to using these apps – business is gonna get behind it and there’s going to be a bit more investment in these kinds of technologies. But generative music isn’t like that really – generative music is like creating a scene of some kind and then planting it in the garden and watching it grow, seeing what comes out of it and then tweaking the rules a little bit so the seed produces different types of flowers. For the people that are listening… well no, I’ll just let you explain properly what I mean. The avant-garde composer shares some of his mind-expanding wisdom. There’s always the search for replacing our kind of tactile relationship with it. And my immediate response was, well, how do I get back to live musicians? Yes, that’s right, exactly, that was the preoccupation. You hear it Steve, there’s a song – one of my favourite songs of later contemporary music is a song called All My Friends by LCD Soundsystem, and that’s completely reliant on the idea of this lack of resolve and this kind of slow harmonic change over a long period of time. And that, again, opens up the question for me. My inbox doesn't receive enough newsletters, Brian Eno and Matty Healy in conversation. Well, the first one is this notion of asynchronicity, if you like, of seeing what happens if you free things from being connected to each other. It’s a setting of poems by William Carlos Williams, and one of the poems that I can remember properly: ​“It is a principle of music to repeat the same, repeat and repeat again, as the pace mounts. My dearest friends… I love the language, the use of language in the words ​“sense of humour”. Explore that space.” And the music is an exploration of the combinations of all those possibilities. The thing that people never really got about him, because I think he slightly concealed that part of himself, is that he was incredibly witty and a very, very funny person. It’s so fascinating that idea of kind of being, essentially… When it gets to the compositional element of making music when you’re talking about your generative music, you almost go back to the structure of what creates it. I’ve heard you talk about this before and I’ve heard you talk about how there may be an unequal distribution of natural talent across people in the world. How are you? It’s not necessarily the funniest person, the person with the best sense of humour can sense where the humour is, it’s this kind of intuitive idea of where almost the truth is in a situation. It’s a bit like, ​“Yeah, yeah, yeah, that’s cool, but let me know when it works or when I can just run it on my iPhone.” What this situation has done is that it’s kind of pushed people towards either more rudimentary forms of technology that are kind of in development, or stuff that people wouldn’t have thought to use like Zoom or those things that we were trying to do when we were trying to FaceTime before. Is that right? Music in particular is a communal art. So, Steve Reich, thank you so much for doing this call with me. Everybody accepts this completely abstract art form very readily and with great enjoyment, it seems to me. My inbox doesn't receive enough newsletters, Steve Reich and Matty Healy in conversation. And so we spent a lot of our studio time in character. And they don’t have to think about it, as a matter of fact it’s a good thing they don’t think about it, otherwise you get Americana and all kinds of things like that. That’s exactly what I thought. Well actually, again, as you know, with It’s Gonna Rain and Come Out, those were pieces that used recordings of a black kid getting arrested for murder. It wasn’t only artists who were talking to each other, there were writers and all sorts of people, and some of them were just people who’d put on good parties where people tended to meet up and talk. I kind of wanted to talk to you just about what your relationship is with technology. There’s no additional sound except the original voice thing – there are additional voices that are added to the counter point, if you will. Do you have any kind of exciting prophecies for the world of tech?Well, something I’ve been very keen on – you may know about it a bit – is this generative music area that I’ve been working on now for quite a long time, actually. But actually, if you look at history and creative situations both in the arts and sciences, what you discover is that there are lots and lots and lots of people chipping away at something all together. Well, thanks so much for taking the time to do this with me, I really appreciate it. You do find it in John Coltrane’s music, you find it in a lot of non-Western music. Yes, so you’ve got me covered, right. But I do agree totally with your assessment of how the street, in its most general sense, the pace of your daily life, influences your music. If you ever wanted to do anything, we should do something. Now, the thing about this, is that I started doing it many, many years ago, before computers even existed in a laptop form. Yeah, yeah. I nearly was doing that! Yes, and I think that’s the more important part of it, actually. I wasn’t even thinking about a next record, but we’ve kind of all been thrown into this new situation, so I think that we have started on a new record and it is a very outward lying thing, so if we do manage to physically be able to see each other again, maybe you’ll come down and help me with it. You could do quite a lot with two ideas. Brian Eno’s been very kind, he once said that if it wasn’t for It’s Gonna Rain – that began his career. And you say, ​“Ok, now go. That’s a kind of healthy scenery that always goes on. They’re both important but I’m no good at the learning the old part. In fact I find that people who are very gifted are often very funny, too. That was a return, if you will, to It’s Gonna Rain and Come Out in light of all the instrumental music that I had written in the interim.

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