Interview
(Progressive Newsletter Nr.64 02/09)
excerpts from an interview with Matthew Parmenter (Vocals, et cetera)
On "Horror Express" I recorded a real piano instead of using a digital. This single difference improved the overall sound quality. When I recorded the piano, I just played without using a click track or metronome. The tempos really breathe naturally, and the songs feel more organic. It helped that the piano was a beautiful concert grand with terrific clarity even in the low end. Since recording Astray I have learned a bit more about microphone techniques and recording instruments. I experimented with the mixing as well. The process was not really easier so much as it was more satisfying. The better sounds made for better reference mixes. The better mixes buoyed my spirits. This helped me to stay positive and maintain my enthusiasm throughout the project.
Was it clear right form the start to play all the instruments by yourself again or were there also thoughts do include some other musicians as well?
Early on, before I had begun recording, I had hoped to work with other musicians. I changed my mind mainly to save time. There is little time for me to work on recordings. I spend my evenings and weekend hours with my family. During the week I work my job. The time I make for recording music is limited, and usually this occurs late20at night or very early in the morning when my family is asleep. The schedule does not lend itself to working out parts with others or to devoting hours to pre-production. I knew the recording would be finished more quickly if I recorded the parts myself as I could find time to steal. I hope to do a more collaborative solo project someday. This would be fun. It will come down to time and probably costs.
Did you feel that your skills on some instruments have improved since the first record and did you therefore have a slightly different approach instrumental-wise?
I could use more practice all around. My technique on the theremin has got a little better. This is a terribly difficult instrument and it requires practice. I found a way to get more consistent pitches without actually learning to play. I bought a cello which is a new sound for me. I do not play the cello, really. But some of the skills from the violin transferred to it. The cello sounds are tolerable on the CD. (Close enough for rock and roll.) The drums are more accurate sounding than on the last CD. This is a surprise because I did not play to a click track. I wanted natural sounding tempos, and so I just recorded the piano without any guide clicks. I was a little afraid the varied piano tempos might be difficult to drum along with. But it turned out to be just the opposite. I drummed at more or less the same speeds as I played the piano. S o the result sounds tighter than on the last release, when I played against a steady click.
Who is hiding behind "Henry plays drums, making music"?
Henry is my three year old son. He plays drums on the hidden track.
Where do you get the inspiration for your "collection of musical nightmares" as your music is described on your website?
My own failings and insecurities have proven to be an inexhaustible source of inspiration. As a young writer I fancied I was an activist songwriter. The songs scrutinized a suburban America that I grew up in. Then something changed, and the critical lens turned inward to scrutinize my own life. I’m still bitching, but now it’s about my own flaws instead of everyone else‘s. I take satisfaction in the verbal expression. Sometimes it is direct or intimate. Sometimes I prefer indirection. I trust that listeners will find some joy in the song structures or in interpreting the songs. This is the nearest I come to faith. Songwriting is one area of my life in which I can be free and masterful. I can present myself as I want others to perceive me. This helps to counterbalance a reality over which I have very little control. I hope it is not completely narcissistic, though. I hope there is a connection with the listener, even in the most peculiar of subjects.
You've played several live shows as a solo artist (Gouveia ArtRock Festival, Nearfest). How did you change the arrangements of your songs and how were your performances received?
Most of the songs were performed on stage before I recorded them. An audience may like to hear songs they recognize from a past recording. (I do when I am in the audience.) The performances seemed to be well received in spite of this. The live renditions tend to be more raw. I get the performance jitters, and the intensity seems to peek once I push through and resolve to be in the moment.
Was it something special for your to play on the same stage as Peter Hammill?
Of course. Although it was most special just to see him perform in Portugal. I never thought I would see him live, so the chance to see him, and also to perform my own set far from home, was something special. (Little did I know I would get to seem him again this year at Nearfest.)
How did the gig at Nearfest with Discipline went overall?
We had some rough edges, but the intensity was there. I wish we could be both polished and emotionally present. But if I had to choose, I would pick high emotions over high technical accuracy. So I cannot complain.
Can you tell a little bit more about the reunion of Discipline? Is it just for Nearfest or are there further activities planned (as already a video of "Rogue" can be seen on your website)?
We have begun recording the next CD. And we hope to play some other shows now that we've relearned some of these old songs.
Kristian Selm © Progressive Newsletter 2008