From invalid opcode Sent Tue, Mar 3rd 1998, 06:19
From invalid opcode Sent Tue, Mar 3rd 1998, 06:19
Here is the Bochum Welt interview as translated by a Japanese friend of mine by the name of Kazuma Mori. If this is valuable to you, please email him directly (xxxxxx@xxxxxxxxx.xxx) and thank him. I know he probably spent a large amount of time on it, and I greatly appreciate the amount of time he most likely spent on it. Thanks alot Kaz, I truely appreciate it. == Chris Layne =============================== Flames to my private email == == xxxxxxxx@xxxxxxx.xx.xx.xx ====== http://www.nervosa.sf.ca.us/~coredump == ---------- Forwarded message ---------- Date: Sun, 01 Mar 1998 23:37:12 -0800 From: Kaz Mori <xxxxxx@xxxxxxxxx.xxx> To: invalid opcode <xxxxxxxx@xxxxxxx.xxxxxxx.xx.xx.xx> Subject: Re: (idm) Japanese translation (fwd) First of all, let me GREATLY APOLOGIZE in advance for any injustice I do in mis-spelling people's names & the names of the brands and companies... Normally, I'd put in the extra effort to do research before I translate anything, but I have two exams tomorrow... (can't spend too much time - sorry.) ------------------------------------ http://www.sme.co.jp/Music/Info/SonyTechno/feature/9803/rephlex/bw.html With Bochum Welt Referred to as the "Craftwork of the 90's" by the (record) label's co-owner, Grant, the man we speak of is a young, 25-year old man by the name of John-Luigi DeCostancio (spell?) -- aka, Bochum Welt. We had the opportunity to talk to him before he departed to Switzerland for the weekend. Q: Could you please tell us when you first started playing music, and the first instrument you learned? BW: I'm 25 now, but when I was about 13 years old, I started to compose music on the piano. Even then, I purchased analog synthesizers like Mouge (spell?) & Operheim (spell?). Samplers were too expensive back then, and if you had a Fairlite (spell?), you'd be in the caliber of running your own club. It was quite advantageous to get equipment with the cutting edge of technology. Q: What kind of music did you like then? BW: I liked pieces produced by Trevor Horn (spell?), and enjoyed listening to "The Look of Love" by ABC, or other pieces by "Art of Noise". Q: How did you become interested in the arts of electronic music? BW: Well, I was originally very interested by how electric sounds and romance seemed to come together, and started composing them on the piano. Once doing so, the mixture of the analog synthesizer and classic music left a great impact on me... Q: You've been producing with local companies like TRC, AXODYA, KROMODE since 1994. Are there any significant difference between the pieces that you've produced in the past with the ones you've produced with Reflex? Also, can you tell us a little about these local labels? BW: First, the difference in my works. I'd definitely say there's a difference. Reflex and Afex-Twin (spell?) have made works with their own unique style and feeling. My pieces produced under them reflect that kind of pioneering attitude. For pieces with AXODYA and KROMODE, the pieces I've done were more spontaneous and inspirational. Works from Reflex are much more deep. TRC is a local label in Milan (Milano?), and I've known of them since I was a little kid. In 1993, the folks at TRC liked my 4 songs I had put on a DAT, and they decided to release that under their label. In addition, Richard and Grant liked it as well, and Reflex came in and released it under their label as well. That would be "Scharlach Eingang." Q: What kind of equipment do you use now? BW: Apple Newton 2000, Mac SE30, Power Mac 5300c, Power Mac 7300 604/166 with 92MB RAM, 2GB hard drive, Open Music System, Pitonic (spell?), Vision, Keybase, Korg (spell?)'s 1212 muti-media channel audio interface, Operheims (spell?), OSC's, Mouges (spell?), a Roland's synthesizer and drum machine, Akai's sampler, a Macky (spell?) mixer, a Yamaha monitor, and a Sony DAT... Q: Any artists that have inspired you, or that you feel you can feed off of? BW: I'm currently working with the support of Thomas Dolby to make a new album. Very exciting. I've always been interested in making music with equipment that utilizes the cutting-edge in technology. The equipment that Thomas is using right now is a Petonic (spell?) in its beta version, but is capable of making a 16-bit interactive CD. This is an amazing feat! Typically, if you try to make the sound quality higher in a video game, you'll need anywhere from 60-100MB of memory... But with the Petonic (spell?), we can provide 16-bit sound for a couple of kilobytes. Now game programmers can make games without worrying about allotting space for sound. I like the operas written by Ryuichi Sakamoto. Also, Julianne Mendelsone (spell?) and Trevor Horn (spell?). Amongst Jazz pianists, I like Bill Evans. Conductors - I like Gill Evans. Q: Jazz and Classic - you seem to like acoustic music as well… BW: Yes - I was raised on everything from pops, jazz, classic, etc… People listen to my music and label it "dance music", but I have never thought of my music as such. My music is "listening music." Q: Did you have any specific concepts to address with your album MODULE2? BW: MODULE2 was made using a 12-bit filter. I wanted to re-create the sound of the beautiful melodies that were found in the video games during the 80's. I found one of my old DAT's that contained a lot of sound samples from video games and sci-fi TV shows in the 1950's. From there, I went ahead and sampled and edited them. Q: Have you ever worked together with another artist to create a piece? BW: Chris Jeffs has re-mixed one of the songs from "Scharlach Eingang" back in 1994. In my current album, the musicians at G. Verdi music school are helping me make an orchestral piece. Q: Can we get you to give us your top 5 favorite songs now, and top 5 favorite all time? BW: Recently, I've been listening to Thomas Dolby's soundtrack, "The Gate To The Mind's Eye", and Ryuichi Sakamoto's "Sweet Revenge" My all time top 5 would be: 1 "Astronauts & heretics" - Thomas Dolby 2 "Sheltering Sky" from "The Last Emperor" - Ryuichi Sakamoto 3 "Donkey Rhubarb" (with Phillip Glass) [Ambient Works Vol 1.1] - Aifex-Twin (spell?) 4 "Collection" - Roxy Music 5 "Electric Café" - Craftwork Q: Lastly, a message for your fans in Japan. BW: Two quotes from William Butler Yeats. "Love's pleasure drive his love away" "the painter's brush consumes his dreams" -------------------------------------------- At 07:34 PM 3/1/98 -0800, you wrote: >Hey Kaz, >I know it's a hard one, but would you be interested? > >Ai Kezim... > >== Chris Layne =============================== Flames to my private email == >== xxxxxxxx@xxxxxxx.xx.xx.xx ====== http://www.nervosa.sf.ca.us/~coredump == > >---------- Forwarded message ---------- >Date: Sun, 01 Mar 1998 17:28:59 GMT >From: "Jeff Davis <pHlow>" <xxxxxxx@xxxx.xxx> >To: xxx@xxxxxxxxx.xxx >Subject: (idm) Japanese translation > >sorry for the non-music related post, but if any japanese list members >would be interested in attempting a rough english translation of a bochum >welt interview on the sony japan site for inclusion on the BW site, i would >be greatly appreciative. > >let me know if you can contribute. the interview is at >http://www.sme.co.jp/Music/Info/SonyTechno/feature/9803/rephlex/bw.html > >peeeeeeeeeeece, > > >Jeff Davis <pHlow> ____--~~~~~~vvvv~~~~ oooo812.831.7846 >xxxxxxx@xxxx.xxx____---- ( ( ( vvvv ~~~~~~ooooooooooooo > ___----( ( \ \ \ \ \ vvv ooooooooooooooooooo >____---- ( \ \ \ \ \ \ \ http://www.xnet.com/~jjdavis/ > > > -- -- Kaz Mori -- xxxxxx@xxxxxxxxx.xxx -- http://www.geocities.com/motorcity/5963/ http://www.vtec.net/asia/ ICQ: 4989738