CO : When we visited you guys, at your festival in 2019, we experimented also. A brilliant idea of Mathieu…
MG : Yeah, it was not easy, but we had to try ! You had two pianos on stage in Potsdam, which is not so often, and this strange one called Una Corda. So we had to experiment some track on both pianos together. But it was real challenge, as much by the discovery of the instrument as by the imposed positioning, back to back, as far from each other…
CO : We played back to back several times on stage, but not as far from each other. It is sometimes an interesting process because it makes the “listening to each other” more visible, while we cannot see each other. I think one of the best Snowdrops show (to me) is certainly the performance we did at the archaeological crypt of Notre-Dame de Paris, just under the cathedral. We created a real bubble of sound. The place and the public were really inspiring.
Studio & Workspace
CO : I was recently talking and describing my workspace for the magazine Headphone Commute. So maybe you would like to have a look at this page.
MG : Our workspace together, the Serpentine Studio, is mentioned there…
MG : Damn, what a question ! No, no routines, not at all… We follow the wind, trying not to sink…
CO : House-work, emails, cooking, gardening, emails, teaching, composing, emails, emails again, practicing yoga, walking in the forest, reading, too much emails, watching movies, emails kill me…
MG : You forgot to say “emails in fucking english”… Poor french people we are…
CO : We cannot know without having played together.
MG : Ok let’s take a trip… David Lynch filming, Thom Yorke on the piano, machines, effects and doing things we don’t understand, Mickael Akerfeldt making some strange drones with his guitar, the Bulgarian choir “Black sea sirens” singing, Christine coming on the Martenot, Jupiter 8 and singing also, Weerasethakul filming, David Lynch move to the piano, machines, effects and other things we don’t understand, and Laurie Anderson is here, waiting for the right time…
MG : Piano at six.
CO : And about the ondes Martenot, by a score that i first saw (and not listened to) called “son-relief” by Jean-Marc Morin.
CO : It depends. About some solo pieces, it’s pretty crazy, but I have a real physical feeling or sensation, like an inner feeling that tells me that this is the end of the composition process.
MG : About “Volutes”, it was as much a short as a long process. Finally 2 days to record everything. But nearly 1 year to think about it, experiment editing & tracklisting, and mostly mix it, trying to keep the sense of sound and intention. I think we know when the record is finished when the instrumental dramaturgy makes sense from the beginning to the end. By dint of listening, it became obvious to “Volutes”.
Health & Productivity
CO : Very badly !
MG : …It’s time to take a break.
CO : You mean these days ?
MG : It’s been a while i was not moved by an album from beginning to end. But I recently enjoyed works by Miguel Atwood-Ferguson & Carlos Nino, by Kali Malone, by Deaf Center or Julia Kent.