MARKUS MEHR
Q What was the first sound or idea that sparked the creation of ’form‘?
First was the conceptual approach. I wanted to put my work with field recordings in the background and work with an instrument. Since I can’t play the piano, it was exciting to try this one. So everything was free and new to me. A very appealing task. Everything was allowed and full of naivety.
Q The song deals with the battle of digital versus analogue, how do you find that struggle on a personal level in your everyday life?
It’s much less of a struggle than an unstoppable process that has a lot of good in it, but also means loss. We gain speed, precision, incredible neural connections, etc., but in doing so we lose part of our identity, our humanity. For the first time in human history, something is more intelligent than we are. This is completely new, and we may pay a high price for this development.
Q How important is storytelling in your music genre, and especially in an instrumental-heavy piece like ’form’?
Very important. There is no singing in my work, so there are no lyrics either. The stories are told purely through sound. Apart from ‘form’ and the entire album ‘trans’, I usually use field recordings, which I edit extensively and then reassemble into a sound sculpture. Within a composition, as in a play, there are always main characters and supporting characters who have to be placed in scenes. In the case of ‘form’, the main character was clear from the outset: the piano.
Q You mentioned using found sounds in this composition. Can you give us an example of one and how it found its way into the work?
In ‘form’, as in all the other tracks on the album, the recordings deal with the theme of change and transformation. In ‘form’, I made recordings at various transport hubs, specifically using electromagnetic microphones, in order to depict the movement from A to B in an abstract way. Movement is a metaphor for change, for leaving one thing behind and moving on to something else, something new.
Q When did the idea for ’trans’ as an album begin to take shape, and was form always part of the plan to be on it?
The album is a kind of holiday from myself. I was busy with two sound projects and wanted to do something relaxing to restore balance and maintain my enthusiasm for experimentation. The concept for the album also came about very easily and quickly. ‘form’ was the second composition for this work and manifested the basic idea. From ‘form’ onwards, I knew I was on the right track.
Q How do you know when something like ’form’ is finished, especially when it’s as layered and complicated as it is?
A piece is never really finished. At a certain point, you simply let it go. It’s less about knowledge and more about intuition. It’s healthy and part of being professional to let pieces go.
Q Do you think that listeners need to understand the conceptual framework behind ’form’ in order to enjoy it, or does it stand on its own?
No. Sound is moving air that reaches our hearts via our ears. It is the music that moves us emotionally, not the intellectual superstructure. Nevertheless, as a composer, it helps me to focus on themes, to have a kind of script. And if it opens up a second level of my work to the listener, I find that very valuable. But to experience music emotionally, you don’t have to understand it ‚intellectually.’
Q Are you drawn towards more traditional song structures, or is abstraction an inevitable part of your practice?
In my sound installations, such as SUPRA, I work very abstractly. I am fundamentally concerned with the dissolution of all structures and patterns within a composition. There is no metronome, everything is free in terms of time and position, and yet everything is subject to a certain dynamic for a harmonious composition. My pieces are not subject to arbitrariness. With pieces like ‘form,’ it’s a little different. Here we find an anchor through the permanent repetition of chord progressions. This type of pattern was part of the task, but here too, everything is free of timing.
Q How is ’form’ a gateway into the themes of ‚trans’?
As I said, it was the second composition and underlines my artistic intention. In addition to a total of three piano pieces, there are three drone-like pieces that provide a counterpoint so as not to slip into the neo-classical corner. But nevertheless, the idea of ‘form’ as a gateway to ‘trans’ is accurate and very beautiful.
Q You’ve called the album a “sound plea for transformation.” What were some changes you were experiencing personally during its creation?
As this was my first time playing an instrument in years, it was an almost exotic experience to create sounds and compositions in this way. In this respect, working on ‘trans’ also transformed me.
If one tries unfamiliar pathways you will reach new goals. A lot of things from this work will get entrance to pieces in the future.
Q Did any unexpected challenges or surprises come up in the creation of ’form’?
Dealing with a ‘device’ like the piano without really knowing what you are doing is a challenge in itself…but that was my intention. So all the surprises and uncertainties were calculated, desired and were very welcome.
Q How do you hope ’form’ will make people feel on first listen?
balanced, fulfilled, with compassion for their surroundings. ’form’ is a calm island in stormy times
Q Did releasing this final single before the album change how you approach the project as a whole?
No. ‘form’ is part of a whole, an ensemble. It can stand on its own as a character, but overall it serves the album.
Q If ’form’ were able to speak, what do you think it would say to the listener?
‘form’ can speak. It whispers unobtrusively in our ears: let us take courage and tackle all the inevitable changes and movements now, while we still have the opportunity to turn things around for the better.
