Serj Tankian, aflat in turneul de promovare al celui mai nou album, Imperfect Harmonies, va canta la Festivalul Artmania de la Sibiu. Cu aceasta ocazie, cunoscutul solist ne-a oferit un interviu in exclusivitate, care poate fi ascultat, in original, mai jos.
Festivalul Artmania are loc in perioada 13- 15 august si ii va aduce in Romania pe Sirenia, Kamelot, the sisters of mercy, Dark Tranquility si Swallow the Sun.
Interviu – Serj Tankian audio- engleza
Interviu – Serj Tankian audio-romana
Transcriptul interviului:
blog.concert-online: Since it’s your first concert here and since and I have been looking forward to seeing you for a very long time I’m wondering have you got anything special for the concert at Sibiu?
Serj Tankian: Yes, we do,we’re gonna have the full band, the FCC playing along with eight extra classical players, we have four violins, two cellos and two French horns. We’re gonna be playing stuff from Elect the Dead, my first solo album as well as well as from the Elect the Dead Symphony and also some new songs from the Imperfect Harmonies. It will be the first tour when we are actually playing some of those songs and so and it’s gonna be a really beautiful, wonderful, you know, melting of three different musical colors.
blog.concert-online: Wow, you’ve got a pretty big crowd out there on stage.
Serj Tankian: Yeah, I hope the stage is big enough.
blog.concert-online: I’m sure it will be. You’ve played with many orchestras on this tour, has there ever been a moment when you were nervous about playing with these people even if you sent them the music sheets before?
Serj Tankian: I wasn’t really nervous, I think the more rehearsal we get with an orchestra, the less nervous there is a reason to be and because they understand the tempo, and it gets in their heads, as much as they can. But when you don’t get rehearsals, like it happens like some of these festivals it gets a little tricky. But we have a couple of systematic things to try and help out with that, but if the promoters gave us more time rehearsal there would be no reason to worry at all.
blog.concert-online: Since you mentioned Elect the Dead- your first album was a big success. Did you have any sleepless nights thinking that Imperfect Harmonies will not rise to the fans’ expectations?
Serj Tankian: To me greatness has nothing to do with the fans’ expectations, to be a great success means to be doing what you’re supposed to be doing musically. To be great success is not measured by album sales, because we know those are dwelling every day, no matter what type of music you play cause the industry is imploding on itself, to be great success is doing what you’re supposed to do in a quality and great way. And both Elect the Dead and Imperfect Harmonies are on the same level.
blog.concert-online: Since Elect the Dead was such a great album, did you think after doing this album that you should write all your material in an orchestral manner so that you don’t have to redo them again?
Serj Tankian: Well, because I did Elect the Dead with the Auckland Philharmonic Orchestra and released that as a separate DVD I didn’t want to make another orchestral record. I wanted to do something completely different. Imperfect Harmonies is not an orchestral record, is primarily a rock record with electronic, orchestral and jazz influences, kind of all melting in each of the songs. It’s a very unique sound that is very unique and modern at the same time.
blog.concert-online: In an interview this year you stated you were writing a full classical jazz album. How’s that going?
Serj Tankian: I’m not writing a classical jazz album, I’m writing a the first classical jazz symphony and it’s not going to be recorded it’s gonna have a live orchestral premiere, it’s an instrumental symphony, my first symphony and it’s going really well. I wish I had more time to finish it. And since I did a full tour of orchestras in New York I have more than one world classical orchestra in playing so this is good news. So I’m looking forward on working on that one as soon as I’m done with these records.
blog.concert-online: I’m really looking forward to listening to it. Since you are so great in music have you ever thought of making a film score?
Serj Tankian: Yes. I actually worked, I co-composed a musical score for this musical called Bug, and the director was the one who did the Exorcist, the original Exorcist. It was with Harry Connick Jr and Ashley Judd. It’s a really good film, kind of like a part horror, part comedy, on limes cape films. I’ve been looking for more opportunities to scoring films, I’m really into the idea of scoring.
blog.concert-online: Well, I hope you find them because you are not lacking imagination as I can see from your latest album.
Serj Tankian: Thank you.
blog.concert-online: Talking about your latest album, why did you release Borders Are and only after Left of Center, which is the official single?
Serj Tankian: Because to me a couple of reasons: number one, the message was very timely. I wanted to get the message more than anything else you know, stuff happening in Arizona, with the SB1070 having to do with the illegal aliens, stuff happening in Gaza and Palestine with the flotilla, the submarine sinking in North and South Korea, so many border disputes and things having to do with borders, it was necessary for me to put something out and that song was perfect for it Number one, number two, I think that musically it better represents me than Left to Center and so I didn’t want it to come out and be the first thing people hear, I wanted Borders are to be the first thing people get to hear.
blog.concert-online: Since you mentioned about Borders Are and these political issues that are going now, do you think that music has a much more higher impact to listeners when it comes with a background of politic, does the music get through and makes them aware of these issues?
Serj Tankian: I think music has a better chance of reaching people than political speeches, for example. I think just by listening to political speeches we tend to tune them out because we hear so much lies, we hear so much bullshit from the press, from the media, from the politicians, that when someone is talking we are used to tuning it out, we are not used to hearing truths anymore and I think music is a great intuitive medium to present those truths. And because it’s intuitive it doesn’t immediately apply to the logic side, it applies to the right side of the brain, and once you’ve processed the information, than you could really feel the double strength both from the logical and emotional part, both from the lyrical and the musical side.
blog.concert-online: We’re gonna go back a little to the past and I wanna ask you if it were more difficult to write music for your solo album than it was for System of a Down?
Serj Tankian: I write a lot of music, I have 500-600 pieces of unreleased music from classical to electronic, from jazz to rock, to all sorts of stuff. So I write music all the time, regardless of the project I am working on. I think when you have a clear vision of a song or of a piece of music or a record and you know how to accomplish it yourself, you know what to do. And I play a number of instruments and I’ve got my own studio, I produce, I engineer, so it’s not very difficult to do it myself. But it is fun to collaborate, you know, if you have a piece of music or a project that requires another character or another musician, or another producer, whatever, it’s cool to bring other energies in the project.
blog.concert-online: I was thinking about what you just told me about Borders Are and I was trying to compare the message and the political references you had with System of a Down and the ones you are sending now. Are they more powerful now or were they more powerful then?
Serj Tankian: It’s hard to make that kind of judgment, to be honest. I think things are just different, I don’t compete and I don’t compare my previous records and I don’t know how to answer that question.
blog.concert-online: I see. What is the difference between the American public and the European public, because you have been doing quite a lot of touring and I presume you have seen differences?
Serj Tankian: Absolutely. You know, I’ve actually noticed a lot of differences. If I were to compare Europe as a full body to North America, specifically the US as you said, the Europeans are more open to different genres of music than US fans. Again we are generalizing and each city and each situation is different but I think the US is generally homogenized and segregated market. All of our radio stations are very separate. One station will not play dance and rock. Everything separates and because of that I think it’s a very media driven market and brand driven market whereas in Europe people love an artist and if that artist comes and plays an acoustic they will go and see him. It doesn’t have to be a full rock set, or whatever the case, orchestra or whatever. I think there is more artist loyalty in Europe if I were to generalize and there is more brand loyalty in the US. It’s kind of weird.
blog.concert-online: Do you think an artist could be more successful in the US because it’s a larger market than Europe?
Serj Tankian: We’ve always had, both with System of Down, and my solo career, I always had a very equal footing both US market and with Continental Europe market. It’s kind of half, half for me, you know? It’s always been like that.
blog.concert-online: Tell me, what are you listening to these days, what’s in your playlist?
Serj Tankian: God, I’ve got 4000 records on my iPod and I don’t have time to listen to any of them. That is the honest truth. I work on so much music that I don’t have time to listen to it. The only time I have is during plane flights and stuff like that, when I don’t have the capacity to do other stuff, although I do interviews and stuff on plane, working on remixes, stuff on my inbox even on planes. So it’s quite hard to listen to music. In fact I have a stack of CDs I’ve just got from Europe and they are not even opened. So yeah, that’s my answer to that question. Be careful what you wish for, ‘cause if you get into the music industry you won’t have time to listen to music. It’s like a baker, if you become a baker, you will probably stop eating beaked gods.
blog.concert-online: I was wondering since you are very involved in politics, in sending a political message, has there ever been a moment when you though your voice wasn’t getting through, your message wasn’t quite understood?
Serj Tankian: That’s a good question. I think the appropriate activist action that we have to do, and whatever happens is a result of what happens. It’s hard to engage the results of activism on a collective world, especially with the way that it is right now. So, no matter what, you have to do what you have to do, what happens as far as a success of that particular cause or activism is secondary. If it finds success it’s through your efforts and the efforts of probably millions of others.
blog.concert-online: You mentioned those songs that haven’t been released yet, will we get to listen to them at any point?
Serj Tankian: Yes, some of the music that I haven’t released on my solo records I’m doing a musical based on the Prometheus Bound, the first Greek Play, we’re opening at the American Repertory Theatre in Boston in March 2011 I have about two hours in that, both scores will have songs of varying genres and different sounds, I’m working with Steven Sater, he’s the writer, so some of that music will come out there, the music will come out in video games, in films, in licensing opportunities, future records as well.
blog.concert-online: Have you started working on anything or are you just too tired after Imperfect Harmonies to do anything at the moment and you’re concentrating on the tour?
Serj Tankian: I’ve got a lot going on, I’ve got Imperfect that’s coming out with two major tours booked, that I’m starting in two days, I’ve just came from an European tour with the orchestras for five weeks, I’m putting out a second poetry book next year, I’m opening a musical next year, I’ve got my classical jazz symphony which I’m going to finish and premiere also next year, I’ve got a museum project in the theoretical phase also a nonfiction book concept that is in the skeleton phase and more music that I’m putting out there, and some m ore touring as well.
blog.concert-online: Wow, 2010 hasn’t even finished and you’ve got 2011 already booked.
Serj Tankian: Kinda, yeah.
blog.concert-online: Well, what can I say, thank you very much for this interview.
Serj Tankian: My pleasure, Alexandra.
blog.concert-online: And I’m looking forward to seeing you play in Sibiu.
Serj Tankian: Thank you , I can’t wait to come there.
blog.concert-online: I think you’re gonna like it, and the public also.
Serj Tankian: Me too, it’s Eastern European blood.
blog.concert-online: Yeah, yeah it is, you’re coming close to home, more or less.
Serj Tankian: Exactly.
Trebuie sa recunosc, imi doresc sa te vad live de multa vreme, iar acum ai primul tau concert in Romania. Pregatesti ceva special pentru spectacolul de la Sibiu?
Da, vom avea o trupa completa, F.C.C. va canta alaturi de inca opt instrumentisti de muzica clasica, avem in total patru viori, doua violoncele doua cornuri frantuzesti.Vom canta canta atat piese de pe Elect the Dead, primul meu album solo, precum si de pe Elect the Dead Symphony, dar si cateva melodii pe Imperfect Harmonies. Este primul turneu in care cantam aceste piese si deci va fi foarte, foarte frumos, un melaj de trei color muzicale diferite.
Vei avea o multime de oameni pe scena.
Da, sper ca scena sa fie indeajuns de mare.
Sunt convinsa ca va fi.Ai cantat alaturi de multe orchestre in cadrul acestui turneu, ai avut vreodata emotii in legatura cu vreuna dintre orchestre, in ciuda faptului ca partiturile le sunt trimise dinainte?
Nu am avut emotii cu adevarat, insa cred ca o data ce petreci mai mult timp repetand cu o orchestra, cu atat mai putine motive ai pentru emotii, deoarece el inteleg tempo-ul, le ramane in memorie pe cat posibil. Dar daca nu ai parte de repetitii, cum e cazul unora dintre festivaluri, devine un pic complicat. Insa avem o serie de lucruri pe care le facem pentru a preveni genul asta de situatii, insa daca promoterii ne-ar lasa mai mult timp pentru repetitii nu ar mai exista nici un motiv de ingrijorare.
Ca tot ai mentionat Elect the Dead, primul tau album a fost un mare success. Ai avut parte de nopti nedormite gandindu-te ca Imperfect Harmonies nu se va ridica la asteptarile fanilor?
Pentru mine succesul nu are legatura cu asteptarile fanilor, pentru mine un mare success inseamna sa faci ceea ce trebuie din punct de vedere muzical. Succesul nu se masoara in numarul de albume vandute pentru ca stim ca acestea scad in fiecare zi oricare ar genul muzical interpretat din moment ce industria muzicala e in implozie. Pentru a fi de mare succes faci ceea ce trebuie intr-o maniera mareata si de calitate. Iar din punctul asta de vedere Elect the Dead si Imperfect Harmonies sunt la acelasi nivel.
Din moment ce Elect the Dead a fost un album atat de bun, te-ai gandit sa iti compui toata muzica intr-o maniera orchestrala pentru a nu trebui sa mai reface piesele ?
Ei bine, din moment ce am facut déjà Elect the Dead cu Orchestra Filamormica din Auckald si l-am lansat pe un DVD separate nu am vrut sa mai fac inca un album orchestral. Imperfect Hamornies nu este un album orchestral, este in principal un rock cu influente electronice, orchestrale, de jazz, iar fiecare dintre acestea se topeste intr-un fel in fiecare dintre pese. Este un sunet unic si modern in acelasi timp.
Intr-un interviu realizat anul acesta ai declarat ca vei inregistra un album de classical jazz. Cum merge?
Nu conmpun un album de classical jazz, ci prima simfonie de classical jazz, si nu va fi inregistrata, ci va avea o premiera live cu orchestra; este o simfonie instrumental, prima mea simfonie si merge foarte bine. As vrea doar sa am mai mult timp sa o termin. Si din moment ce am realizat un intreg turneu al orchestrelor din New York, exista mai mult de una singura care poate sa cante, ceea ce e o veste buna. Deci astept cu nerabdare sa lucrez la asta de indata ce am terminat cu acest album.
Atunci astept cu nerabdare sa o ascult. Din moment ce esti atat de inspirat, te-ai gandit sa faci si coloane sonore?
Da. De fapt, am si lucrat, am coprodus coloana muzicala pentru un film intitulat Bug, iar regizorul a fost cel care a realizat Exorcistul, varianta originala. Au jucat Harry Connick Jr. si Ashley Judd. E un film foarte bun, parte horror, parte comedie. Am cautat mai multe ocazii de a compune coloane sonore, chiar imi place sa fac asta.
Sper sa gasesti pentru ca dupa cum putea vedea din ultimul album nu iti lipseste imaginatia..
Multumesc.
Ca tot vorbim despre ultimul tau album, de ce ai lansat Borders Are si abia apoi Left to Center, care e de fapt singelul oficial de promovare?
Dintr- o serie de motive. In primul rand pentru ca mesajul era foarte potrivit pentru acel moment. Am vrut sa il transmit mai mult decat orice altceva, tinand cont de ceea ce se intampla in Arizona cu legea SB1070 pentru imigrantii ilegali, lucrurile care se petrec in Gaza si Palestina cu acea flotila, submarinul care s-a scufundat intre Corea de Nord si de Sud, sunt atatea dispute de granite si lucruri conexe cu acestea, incat era necesar pentru mine sa trimit un mesaj, iar aceasta piesa era perfecta pentru asa ceva. Asta in primul rand, in al doilea rand cred c a din punct de vedere muzical, piesa asta ma reprezinta mai bine decat Left to Center si nu am vrut ca acesta sa fie primul lucru pe care oamenii il asculta, mi-am dorit ca Borders Are sa fie ceea ce se aude intai.
Din moment ce ai pomenit despre Borders Are si despre problemele de ordin politic care se intampla la ora actual, crezi ca muzica are un impact mai mare asupra ascultatorilor atunci cand are in spate si un mesaj politic, ca muzica transmite mult mai bine problemele de genul acesta?
Cred ca muzica are mult mai multe sanse de a ajunge la public fata de un discurs politic, spre exemplu. Eu sunt de parere ca atunci cand incepem sa auzim un discurs politic avem tendinta de a-l ignora pentru ca sunt atatea minciuni, atatea rahaturi din partea presei, de la media, de la politicieni, atunci cand cineva ne vorbeste il ignoram, nu mai stim sa mai ascultam adevaruri, iar eu cred ca muzica este un mediu intuitiv foarte potrivit pentru a prezenta acele adevaruri. Si tocmai pentru ca este intuitiv nu se adreseaza intai logicii, ci partii drepte a creierului, iar o data ce ai procesat informatia, atunci poti simti cu adevarat dubla putere a mesajului venit atat din partea emotionala cat si din cea rationala, atat din cea a versurilor dar si din cea muzicala.
Ne vom intoarce putin in urma si vreau sa te intreb daca a fost mai dificil sa compui un album solo decat sa compui pentru System of a Down?
Compun o multime de muzica, am undeva la 500-600 de piese nelansate, de la clasica la electronic , de la jazz la rock, tot felul de genuri. Deci compun muzica tot timpul, oricare ar fi proiectul la care lucrez la acel moment. Eu sunt de parere ca atunci cand ai o viziune clara asupra unui cantec sau a unei bucati muzicale, sau a unui album si stii tu insuti cum se realizeaza, stii ce vrei sa faci. Iar eu cant la un numar de instrumente, am propriul meu studio, produc, fac inginerie de sunet, deci nu e foarte dificil sa fac totul singur. Insa e placut sa colaborezi daca ai nevoie de o alta persoana sau de un alt musician sau de un alt producator pentru o piesa sau un proiect, e bine sa aduci si alte energii proiectului
Ma gandeam la ceea ce mi-ai spus despre Borders Are si incercam sa compare mesajul si referirile politice pe care le trimiteai cu System of a Down si cele de acum. Erau mai puternice atunci sau acum?
Mi-e foarte greu sa fac o asemenea judecata de valoarea, ca sa fiu cinstit. Cred ca lucrurile sunt pur si simplu diferite. Eu nu sunt sunt in competitive si nici nu compare albumele mele anterioare, deci nu pot raspunde la intrebarea asta.
Inteleg. Spune-mi, care e diferenta dintre publicul American sic el European, pentru ca ai mers in destul turneee ca sa pot presupune ca ai simtit asemenea diferente.
Absolut. De fapt, stii, am observant o multime de diferente. Daca ar fi sa compare Europa ca intreg cu America in mod special SUA, atunci europenii sunt mult mai deschisi catre diferite genuri muzicale decat fanii americani. Din nou, generalizam, caci fiecare oras si fiecare situatie e unica, insa cred ca SUA este in general o piata omogenizata si segregata. Un post nu va difuza dance sau rock, spre exemplu. Totul desparte si cred ca asta se intampla pentru ca este o piata condusa de media si de branduri, pe cand in Europa, daca oamenii iubesc un artist se vor duce sa il vada si daca are un concert acustic, nu trebuie sa fie un setlist numai de rock, orchestral. Cred ca in Europa e mai mult despre loialitate fata de artist, pe cand in SUA e despre loialitatea fata de brand. E oarecum ciudat.
Crezi ca un artist ar avea mai mult success in SUA pentru ca e o piata mai mare decat cea europeana?
Dintotdeauna am avut, atat cu System of a Down cat si in cariera mea solo un echilibru intre piata Americana si cea din Europa continental. E intr-un fel jumate si jumate pentru mine. Intotdeauna a fost asa
Spune-mi te rog, ce ai prin playlist, ce asculti?
Doamne, am peste patru mii de albume pe iPod, insa nu am timp sa ascult nici unul. Acesta e adevarul. Lucrez la atata muzica incat nu mai am timp sa o ascult. Singurele moment pe care le mai am sunt in avion, cand nu pot sa fac altceva, insa chiar si atunci mai fac interviuri, lucrez la remixuri, imi verfic inboxul. Deci imi e destul de greu sa apuc sa ascult ceva. Deci cam asta e raspunsul meu la aceasta intrebare. Fii atent la ceea ce iti doresti pentru ca uite, intri in industria muzicala si nu vei mai avea timp sa asculti muzica. E ca un brutar, o data ce ai devenit brutar probabil ca nu vei mai manca produse de brutarie.
Ma intreb, esti atat de implicat in politica, in a trimite un mesaj politic, dar a existat vreodata un moment in care vocea ta nu a fost auzita, in care mesajul tau nu a fost pe deplin inteles?
E o intrebare buna. Cred ca activismul potrivit este ceea ce simtim ca trebuie sa facem, iar ceea ce se intampla, se intampla. Este dificil sa angrenezi rezultatele activismul pentru o lume intreaga, mai ales la modul in care este acum. Deci, orice ar fi, faci ceea ce trebuie, ce se intampla vizavi de succesul acelei cauze sau activism in particular este secundar. Daca va avea succes este datorita eforturilor tale si probabil eforturilor ale altor milioane.
Ai mentionat acele piese care inca nu au fost lansate, vom avea ocazia de a le asculta?
Da o parte din muzica pe care nu am lansat-o pe albumele mele solo o voi folosi pentru Prometeu inlantuit prima piesa de teatru greceasca, apoi o premiera la Teatrul American Repertory din Boston, in martie 2011, iar doua ore de muzica intra acolo, ambele ilustratii muzicale fiind de genuri variate si sunete diferite, lucrez cu Steven Sater, el este regizorul, va intra niste muzica si acolo, apoi in jocuri video, filme, oportunitati de licentiere (n.r- reclame), precum si viitoare albume.
Ai inceput sa lucrezi la ceva déjà sau esti prea obosit dupa Imperfect Harmonies pentru a mai face ceva pentru moment si te concentrezi pe turneu?
Am o multime de lucruri pe care le fac, am Imperfect Harmonies care are doua turnee importante care sunt programate , tocmai m-am intors dintr-un turneu European de cinci saptamani cu orchestra, lansez o noua carte de poezii anul viitor, lansez un muzical anul viitor, am proiectul meu de simfonie classical jazz, o voi termina si va avea premiera anul viitor, am un proiect muzical in faza teoretica si un concept de carte nonfictiune in faza de schelet, mai scot muzica si evident, ceva turnee.
Impresionant, 2010 inca nu s-a incheiat si tu ai déjà 2011 deja complet ocupat.
Cam asa ceva, da
Ce pot sa mai spun decat multumesc foarte mult pentru acest interviu.
Placerea a fost a mea, Alexandra
Abia astept sa te vad la Sibiu.
Multumesc, si eu abia astept sa ajung acolo.
Cred ca iti va placea si publicului la fel.
Si eu cred, e totusi sange est European.
Intr-adevar, mai mult sau mai putin vii aproape de casa.
Exact.
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