Developing
the music
Mark Spybey is well-known for his project Dead Voices On Air and his colaboration in the legendary Zoviet France. Now he has started a new project with Phil Western, once his collegue at cEvin Keys Download. In autumn they will be on tour - a good oppotrtunity to take a look at Beehatch and one of the men behind...
Your new project is Beehatch. In April you released the self-titled CD. First of all - what does Beehatch mean?
Beehatch was a song from the first Download-CD, "Furnace", that both Phil and I worked on. It was a song we liked and we felt that by using the tile, it was an acknowledgement of a connection between us.
What reactions did you get for the CD?
It's early to say but in general, the reception has been very good. People are interested in the fact that Phil and I are working together. The album is full of ideas and the music was designed to be listened to as a collage and as a consequence I think the album requires repeated listening. But the reception has pleased us. We both think it is a good album and we're hard to please.
In Beehatch you work together with Phil Western. It's not your first collaboration with him. What experiences did you have in that joint project? How did this differ from your collaboration in Download?
Twelve years have passed since we last actively worked together and we have both done a lot of growing. It's hard to compare really, as we only worked together on "Furnace" and most of that was via improvisations. I think it is important as we developed a way of communicating musically during this time. We toured together and we both like each others music.
You worked together in a "file sharing" manner. What advantages, what problems does this method have?
We didn't encounter any disadvantages. Using a cycling analogy, I put this down to the fact that during our training, we have put the kilometres in. We understand how we work and if anything, the years have brought us closer together in this respect. The advantages are obvious, we were able to record an album whilst being in different parts of the world and it was quick. Very quick. Some would say this way of working is impersonal but I did not find this at all. Most musicians waste massive amounts of time in a studio, searching for the spark of creativity. We sat in the comfort of our own homes and worked when it suited us. I found it incredibly interactive and a flexible way of working but I think it worked because Phil and I have an understanding of each other.
Did you rework your partners tracks or do you just say - that's a nice interlude, this would work with that in a good manner...?
Both, but it's more complex than that. You have to feel comfortable enough to take risks. You can't judge how your partner might respond because you can't see them! You have no non-verbal cues and I think they help. So, we took risks. I didn't feel that anything I sent to Phil was complete and had no sense that he had shown disrespect to the material I sent to him. On the contrary, I think he dealt with the material sympathetically. Moreover, I think we have the same understanding of what constitutes a 'finished' piece of music. The whole concept is ridiculous. It's rooted in pop music. That you can create something that is constructively perfect. You can't. It helps if you feel that way. We were not making music for people to like. We were making music for ourselves. So we just cut and pasted the music together in a way that pleased us.
Did you ever have the situation that Phil or you didn't get on with what the other has presented? If so, what did you do?
No! I'm being honest! I can't tell you how happy this makes me feel!
Can you reveal what tools you're working with and how does your composition process look like?
Both of us record to computer and nowadays a lot of the music is manipulated there. We create music in different ways though. I'm mainly using 'real' instruments (even though they may be electronic) like drums and bass guitar. Of course I still use toys and ethnic instruments too and I sang or used my voice quite a bit. I know Phil uses a guitar and a variety of keyboards. We're both into effects processing too.
How do you imagine playing live the tracks?
Well apparently
Ableton Live is going to be used. We intend on using a live drummer, Bradly
Dunn-Klerxs who played with Dead Voices on Air eight years ago in Dresden.
I will use my sampler, toys etc. and do live percussion also in addition
to vocals. We'll have live keyboards too. I think we will use the basic
ideas from the songs we have recorded (we have just finished our second
album) to create new pieces of music that will change considerably, from
concert to concert.
What are you especially looking forward to?
Developing the music. The interaction with an audience is important. I'm sure we'll create something that is exciting for an audience and that the 'songs' will take on new identities. I also know we have the ability to create a concert that is 'dynamic.' What I mean by that is that so many bands treat concerts as opportunities to simply recreate their recorded works but I know, we will be able to spontaneously create new music and I think that audiences will respond positively to that.
You're mostly doing let's call it "experimental music". How did you get into it?
We're a pop band! Don't blame me for the fact that most pop music is uninspiring! I got into this music because I try to simply create the music I hear in my mind. I mean, what is the opposite of 'experimental' music? I don't know and frankly, I don't care. I'd like to think that the 'experimental' edge within music is a bit like the 'research and development' part of the music business. There is a need to move things on.
What bands, music did you like, when you were a teenager? What present-day bands impress you?
A lot of German music; Can, Faust, Neu, Kraftwerk etc. I am really into experimental Norwegian jazz at the moment, bands like Supersilent. I'm also really impressed with how bands like The Fall manage to remain important and Nick Cave is on a roll at the moment too. Grinderman really impress me. A lot of the reformed bands of old look tired and out of touch to me.
You learnt drumming.. Why did you give it up?
Drums are loud and annoy neighbours. They are also heavy and I don't drive. I started drumming again recently and love it. Realistically, percussion is usually an important part of my music.
Does this drumming still influence your music and if so, how?
Very much so. I like to use effects units to create rhythms and as such anything can be used as a sound source. Rhythms are building blocks, I treat sound as blocks.
You were and are involved in numerous releases. From your point of view: What is common to all projects you're in?
A lack of desire to try to create music that 'sounds' like me.
Looking around at Discogs I found that you took part in Martin Atkins And The Chicago Industrial League's release "An Industrial Christmas Carol", coming out on Invisible in 1995. Can you tell us about this project, it sounds a little strange?
It was. I was in Chicago on holiday and Martin asked me to record some tracks for this release. I used some chains that I rattled and did some vocals. I had no idea what the project was about but Martin Atkins asked to me do it and he is one of my favourite drummers and I feel passionate about doing stuff for the label.
Why did you "emigrate" in the early 1990's to Canada?
To get away from the legacy of Margaret Thatcher. She had a catastrophic effect on Britain, one which is still being felt. She essentially dismantled society. I heard they intend to give her a state funeral when she dies. That is a gross insult to Britain and to all the people whose lives she destroyed.
In Download you were in the centre of attention as a singer. How did you like this? Do you see yourself as a more introverted or extroverted person?
I don't see myself as a front person. I think bands that rely on people like this are essentially limiting their resources. Hence, Nick Cave would not have the same impact without the Bad Seeds, who are a fantastic band. I don't know how I view myself, I change. I can be extroverted but I can feel awkward socially. I need to feel like I have influence over my surroundings. Sometimes it felt good being the centre of attention with Download but generally, Download was not that kind of band. Members worked together towards the attainment of a common goal and if they didn't, the music suffered. Generally I think it worked well. I think I distrust bands that have to rely on individuals.
You had been a member of Zoviet France for a while. What influence did this period take on you?
I think it gave opened up a musical vocabulary and leaving the band gave me the desire to do it for myself.
There are a lot of secrets about the bands policy. Can you tell us, how you worked together?
Secrets are often unhelpful. The band was regarded as an anonymous collective but in reality it was a collection of individuals. At the time I am not sure that it mattered who took a lead role in various albums. But it's a bit like The Beatles; Lennon and McCartney may be labelled as a collective song writing team but I gather they generally didn't write together. The concept of collective anonymity becomes totally redundant when someone leaves the band and continues to make music because promoters and labels will always refer to you as being 'ex-Zoviet-France.' Suddenly all these ex-members are identifiable. The anonymity is broken. You can't write people out of history.
Did you have problems with old ZF members or fans when you started Reformed Faction? What reasons did you have for starting this project?
Not really. We acknowledge that we made a mistake in originally calling ourselves "The Reformed Faction of Zoviet France." It was not necessary. Our solo outputs are as important as the work we did in Zoviet-France. No one asked us to change the name; Robin and I felt tired of being associated with it. We decided to drop the ZF part of the name. I think we acknowledged who we were and what we had achieved in the years since we left that band. To be honest it was always a very small part of my career.
What can we expect next from Beehatch?
More or less of the same. I feel like we can do anything we want. I also feel the same for Reformed faction. I think both bands are working really well.
What actual future plans do you have? What release / project will be next?
A Reformed
Faction triple CD for Soleilmoon Records, the booklet art is partly by
Ira Tannhauser from Dresden who we met from our work and friendship with
Scatology.
The CD is packaged in a handmade metal embossed box, with a patch and
a button badge. It also comes with a 3 inch 20 minute CD. There are 3
and a half hours of music and it's very different to our first two albums.
I've recorded a new Dead Voices on Air record, done several other collaborations
but live, my priority for a little while is Beehatch.
BEEHATCH
live mit Tore Honore Boe
23. Oktober 2008, 21 Uhr
AZ Conni
Rudolf-Leonhard-Str. 39
Dresden Neustadt
