התמלול המלא של Thorsten Quaeschning, Tangerine Dream / Bioscope / Picture Palace Music

Marion and Tender and Dream never 66 00:05:00,238 --> 00:05:02,619 third in December. 67 00:05:02,619 --> 00:05:05,681 Don't know why but it's like that. 68 00:05:06,322 --> 00:05:13,346 So, was one week normally in Berlin in my other studio, the main studio. 69 00:05:13,346 --> 00:05:24,132 um Yeah, and last year we were close to finish, throw that bad word, but we thought about just this is an album. 70 00:05:24,132 --> 00:05:27,354 But then before a program, 71 00:05:28,310 --> 00:05:36,231 like more techno-esque groups and uh more like, yeah, modular percussion. 72 00:05:36,231 --> 00:05:38,053 It was very electronica. 73 00:05:38,053 --> 00:05:44,454 And we talked about adding a human drummer to it and we watched a lot of YouTube videos. 74 00:05:45,895 --> 00:05:53,877 And Alex Reeves from Elbow, he also played with uh people like Nick um Cave as well. 75 00:05:53,877 --> 00:05:57,658 And so it's good for all words. 76 00:05:58,462 --> 00:06:00,184 and he was an unbelievable drummer. 77 00:06:00,184 --> 00:06:05,309 We recorded his tracks and contributions in February this year. 78 00:06:05,309 --> 00:06:12,436 Only two days, one and a half days, editing on top in his studio in London, so I fly over to the UK. 79 00:06:12,436 --> 00:06:14,698 It worked very well, I guess. 80 00:06:14,698 --> 00:06:18,561 It was growing things together in a way. 81 00:06:19,192 --> 00:06:28,766 Torsten, I know that the album takes a lot of its inspiration from the development of the moving image throughout the ages. 82 00:06:29,366 --> 00:06:39,360 I'm just wondering if you can briefly take us through each of the tracks and give us little bit of insight into the compositional approach and the themes for those songs. 83 00:06:42,067 --> 00:06:43,948 Most of them were... 84 00:06:43,948 --> 00:06:55,074 I don't like the idea of an improvisation um because it's sometimes connected to muscle memory playing. 85 00:06:55,615 --> 00:07:02,838 And so I like more the idea or the concept of real-time composition, wizard. 86 00:07:02,838 --> 00:07:08,321 Probably the same for some people, but it's a very big difference in my head at least. 87 00:07:08,321 --> 00:07:09,986 um 88 00:07:09,986 --> 00:07:19,029 because maybe with a goal on the horizon or a shape of things instead of just feeling the moment by itself. 89 00:07:19,170 --> 00:07:27,203 And it was created more in the moment with the idea to have concepts. 90 00:07:27,203 --> 00:07:32,495 I applied three concerts with Steve while the Tendren Dream Tour. 91 00:07:32,675 --> 00:07:39,438 And I think it was quite an unusual experience for him because 92 00:07:39,438 --> 00:07:48,698 we have 40 some something between 30 and 15 minutes each concert, which was called session and this is free form. 93 00:07:49,198 --> 00:08:04,278 And so he played this sessions to and there's sometimes it feels like there's lots of room lots of space, but don't fill it with many notes. 94 00:08:06,038 -->

00:08:08,838 And so I think it's both 95 00:08:09,614 --> 00:08:16,318 even the idea of very long form music, which is very strange talking about progressive rock bands. 96 00:08:17,099 --> 00:08:22,041 Normally, they are the people with all the unbelievable long pieces. 97 00:08:23,022 --> 00:08:28,865 But if you play with Tenron Dream, this is a different page. 98 00:08:28,865 --> 00:08:36,590 um So even our last album was the first vinyl, it was double vinyl, the first 99 00:08:36,909 --> 00:08:44,069 Winer 1, site A was one piece and Winer 2, site B was also only one piece. 100 00:08:44,069 --> 00:08:48,489 So it's always some 20 minutes, 40 minutes, something like that. 101 00:08:49,109 --> 00:08:54,009 Probably with less signal parts in it. 102 00:08:54,429 --> 00:09:06,798 So the evolving structure of morphing things from one part to another without having a break that works like a signal to 103 00:09:06,798 --> 00:09:24,538 get to the next part is probably very different from the supposed plate in the moment and then just recorded half hour then take one piece of it just sorry to bar 64 something and 104 00:09:24,538 --> 00:09:29,198 work in kind of controlled studio environments on it. 105 00:09:32,002 --> 00:09:36,763 This was also probably a very good thing that we always sat in the same room. 106 00:09:36,763 --> 00:09:42,085 um think there's so many aspects of it. 107 00:09:42,085 --> 00:09:45,426 So it sounds esoteric, but it isn't. 108 00:09:45,426 --> 00:09:54,148 You have the idea of hearing with the ears of the other person in same room, because you try to please. 109 00:09:55,128 --> 00:10:01,070 I sometimes sitting arranging and it's... 110 00:10:01,070 --> 00:10:05,490 scripting little lines in the panoramas. 111 00:10:05,490 --> 00:10:12,710 So I know there's a movement from left 60 to left 452. 112 00:10:12,930 --> 00:10:18,450 Probably the other person in the room wouldn't recognize this. 113 00:10:18,990 --> 00:10:25,970 so maybe you make a little bit more, maybe you change it more classically because there's a second person. 114 00:10:26,090 --> 00:10:29,870 And I think that is good sometimes for the music because 115 00:10:30,144 --> 00:10:40,783 It's great to have very minimalistic details, but the idea that, so I'm sitting here one hour and it's moving slightly over their left. 116 00:10:40,783 --> 00:10:45,766 So what are you thinking I'm doing? 117 00:10:45,766 --> 00:10:55,950 even the, m like the look in the eye check while doing drastically effect things or m 118 00:10:55,950 --> 00:11:11,390 looping his guitar and at one point enforcing a sequence, filter bank, a moat filter, or kind of the hard side of granulazentesis to make it all grainy. 119 00:11:14,970 --> 00:11:21,930 It's easier to look him into the eyes and look, I'm doing this, and okay, he's smiling. 120 00:11:23,744 --> 00:11:36,544 Instead of doing this, making rough mix and dropbox and waiting two days for a response, which is maybe oh what it did to my guitars. 121 00:11:38,126 --> 00:11:40,106 So this was great. 122 00:11:40,106 --> 00:11:45,892 um I'm not so good in naming folders. 123 00:11:45,892 --> 00:11:48,334 This is one I learned from Steve. 124 00:11:48,334 --> 00:11:51,076 Normally it's just the date. 125 00:11:53,294 --> 00:11:58,794 And the last song of the album is called Kaleidoscope. 126 00:11:59,134 --> 00:12:12,694 It a Friday evening after dinner and Steve came up with that rock riff in a good way. 127 00:12:13,794 --> 00:12:20,214 And probably would never have done something like that ever, but it works. 128 00:12:20,870 --> 00:12:28,536 And so I know that don't maybe because of the day of the name Friday on my folder. 129 00:12:28,536 --> 00:12:33,029 So I thought this should sound like the cure and enjoy the vision. 130 00:12:33,029 --> 00:12:36,902 So I played all the, the soluna stuff. 131 00:12:36,902 --> 00:12:39,023 have the MK. 132 00:12:39,884 --> 00:12:43,877 Three, two, three, three, is okay. 133 00:12:43,877 --> 00:12:45,648 But it's, it's, it's a key chronic. 134 00:12:45,648 --> 00:12:48,590 So I can, it's my time to. 135 00:12:48,590 --> 00:12:49,630 to talk about that. 136 00:12:49,630 --> 00:12:51,070 It's not three, it's different. 137 00:12:51,070 --> 00:12:56,250 On four, you have a tiny LED on it, on the modulation button on three. 138 00:12:56,250 --> 00:12:57,250 yeah, okay. 139 00:12:58,230 --> 00:13:08,230 sometimes my Serena decides which notes are in plane because of temperatures, because of the full phonic thing. 140 00:13:08,310 --> 00:13:14,970 But on that day, that, yeah, I think it was D major, it worked in that key. 141 00:13:15,230 --> 00:13:17,504 Sometimes we even started with a 142 00:13:17,504 --> 00:13:26,822 middle part and edit the another part before after half a year, probably not half a year, three years later. 143 00:13:26,822 --> 00:13:34,228 So there's not like a continuum working process per piece of music. 144 00:13:35,490 --> 00:13:41,715 After all, it's not more than two months, I guess, together in the studio. 145 00:13:42,637 --> 00:13:44,718 And maybe 146 00:13:45,358 --> 00:13:50,858 two weeks editing and maybe tweaking, recording things. 147 00:13:51,558 --> 00:14:02,598 Steve in his studio and some Modular overdubs which was slightly detuned or spread detuned. 148 00:14:02,998 --> 00:14:06,218 You can do bit of a melody but it's not the same. 149 00:14:06,218 --> 00:14:12,958 So try to find a sound close to that or different pads. 150 00:14:15,282 --> 00:14:32,685 Probably even recorded little drier when it comes to reverb because that's I usually use a lot of three verbs and and and the end final mix is Very for me. 151 00:14:32,685 --> 00:14:33,559 It's very dry. 152 00:14:33,559 --> 00:14:40,861 I mean, it's there's there's space on it, but it's not normally just doing the It's a lot. 153 00:14:40,861 --> 00:14:41,981 I love 154 00:14:42,390 -->

00:14:48,933 replica and the night sky, big sky and what's the name? 155 00:14:48,933 --> 00:14:50,974 Starlap and the modulus. 156 00:14:50,974 --> 00:14:55,116 Yeah, and just doing the big something on it. 157 00:14:55,116 --> 00:14:58,558 um Yeah, so... 158 00:14:59,808 --> 00:15:05,021 Yeah, that and look, is, it's an absolutely amazing sounding album. 159 00:15:05,021 --> 00:15:08,802 And I'm fascinated obviously, Torsten, what were the key pieces of gear? 160 00:15:08,802 --> 00:15:18,597 And you've mentioned some of the effects and some of the stuff you've used, but what was some of the standout instruments to you that you used in that album that, you know, you're 161 00:15:18,597 --> 00:15:19,848 so pleased that you use? 162 00:15:19,848 --> 00:15:24,810 mean, you've mentioned the Selena, but just what was, what were your key go-to instruments? 163 00:15:24,846 --> 00:15:28,127 So my model is very important to me. 164 00:15:28,428 --> 00:15:40,823 it's a good way, normally I'm just probably with editing or changing sounds until the end, which I'm doing when I'm doing soundtrack work because of the idea of soundtrack work and 165 00:15:40,823 --> 00:15:48,236 something, some scenes are missing on the day before the picture lock. 166 00:15:48,236 --> 00:15:53,358 But um if you work with the model system, you are forced to 167 00:15:53,390 --> 00:15:58,813 press record at one point because you can't save any preset and for me it's a good thing. 168 00:16:01,615 --> 00:16:13,381 There's a mixture of Eurorack and Marienberg which is a 5 unit which is a really good sounding and uh lots of mogs. 169 00:16:15,182 --> 00:16:18,824 If it's too nerdy, em please say that. 170 00:16:18,824 --> 00:16:22,426 uh It's even three different voyages. 171 00:16:22,636 --> 00:16:23,627 Wow. 172 00:16:23,627 --> 00:16:27,290 Yeah, but they're sounding different. 173 00:16:27,290 --> 00:16:31,754 So even the oscillator inside the voyage are sounding so different. 174 00:16:31,754 --> 00:16:37,639 um there's this one of the select white ash things. 175 00:16:37,639 --> 00:16:46,987 really like more for if it comes to um soloing, which the warm shine and trades diamond-esque thing. 176 00:16:46,987 --> 00:16:50,990 um The sparkle black. 177 00:16:50,990 --> 00:16:53,630 I think it's three years younger. 178 00:16:54,190 --> 00:16:56,910 It's much better for basses, don't know why. 179 00:16:58,790 --> 00:17:05,730 live, because two keyboard mocks on stage, it's a problem I have. 180 00:17:05,730 --> 00:17:20,589 I'm using RME and it's even a bit different and like also to use the Minitor, also a white BlackBone and the Serene for... 181 00:17:20,589 --> 00:17:33,349 some crunch, more crunchy, not for basses but it's also very one, so it doesn't sound like anything else I think. 182 00:17:34,669 --> 00:17:49,789 So for pets sometimes classics, Jupiter 8, Prophet 8 as well, 5.8, sparklings from 183 00:17:49,934 --> 00:17:57,837 Quantum Baldo without using the compress and sense range. 184 00:17:57,837 --> 00:18:09,362 um So I try to avoid the typical 80s, 90s sometimes um on that project or band. 185 00:18:09,422 --> 00:18:16,414 I think there's no GBA 800, no wave stage, no M1, no D50. 186 00:18:16,414 --> 00:18:20,006 um 187 00:18:20,096 --> 00:18:21,947 It's Z1. 188 00:18:22,027 --> 00:18:23,388 It's on the PET. 189 00:18:23,388 --> 00:18:25,690 The big rise of the prophecy. 190 00:18:25,690 --> 00:18:29,653 um And it's good. 191 00:18:29,653 --> 00:18:33,155 Recent for some pets too. 192 00:18:34,096 --> 00:18:36,237 But the first version, I don't like the GT1. 193 00:18:36,237 --> 00:18:38,498 I think the first version is more great. 194 00:18:39,519 --> 00:18:41,641 Sometimes a mixture of everything. 195 00:18:41,641 --> 00:18:47,425 with the Mellotron, I'm using the mannequin electronic Memoton. 196 00:18:47,425 --> 00:18:49,582 um 197 00:18:49,582 --> 00:18:57,262 Real life is 7.4 seconds without a loop and like lead sounds, moke as well. 198 00:18:57,262 --> 00:19:01,642 Sometimes op 6 for the crispy ones. 199 00:19:02,282 --> 00:19:08,722 I really like the peak as well from Navation and the Modular Argon 8. 200 00:19:09,862 --> 00:19:19,602 For granular, I have the GR1 from Tasty Ships and this is small but it works quite well. 201 00:19:19,734 --> 00:19:26,556 has a very different sound to the granular engine from the um quantum. 202 00:19:26,856 --> 00:19:29,216 Mostly that. 203 00:19:29,217 --> 00:19:31,937 There's not so many plugins on it. 204 00:19:31,937 --> 00:19:38,059 um I don't think they are the piano sound. 205 00:19:38,239 --> 00:19:48,001 okay, yeah, that's yeah, I don't like making a piano or like the grand piano as well as some sample sounds. 206 00:19:48,082 --> 00:19:49,362 To be honest, 207 00:19:49,524 --> 00:20:07,086 It's sounding good and it's one of the Olafur Arnald's um thing and I really like his sound that you hear the hammer on the string more and you can adjust the amount of that. 208 00:20:08,888 --> 00:20:18,324 Player's noise is something I don't use to make fun of the plug that you have a volume amount of. 209 00:20:18,324 --> 00:20:20,675 noises from the player like... 210 00:20:23,255 --> 00:20:26,176 Don't know if I'm leading this. 211 00:20:26,176 --> 00:20:29,617 Yeah, and lots of effects. 212 00:20:29,777 --> 00:20:47,096 using some lots of pedals, Spryman, also the Magneto, the timeline, the Mobius, the moderation thing and the sunset. 213 00:20:47,096 --> 00:20:56,133 things for the bit crunchy things, um what's the name of the M stripe, iridium as well. 214 00:20:56,133 --> 00:21:01,417 and some strange kind of modelations with stuff from other brands. 215 00:21:02,879 --> 00:21:05,381 Yeah, I think that's nearly it. 216 00:21:05,381 --> 00:21:07,353 Probably I forgot some things. 217 00:21:07,353 --> 00:21:10,405 MS-20, yeah, through, yeah. 218 00:21:10,405 --> 00:21:16,480 oh 219

00:21:16,480 --> 00:21:18,456 always through the distortion pedal. 220 00:21:18,456 --> 00:21:22,601 Torsten, I think it was an inspired collaboration to do something with Steve. 221 00:21:22,601 --> 00:21:26,795 think his melodic style really suits your playing very well. 222 00:21:26,795 --> 00:21:28,717 And I it's a great album. 223 00:21:28,758 --> 00:21:33,312 Do you think we can see further collaborations between you and Steve in the future? 224 00:21:33,614 --> 00:21:34,334 Absolutely. 225 00:21:34,334 --> 00:21:38,386 So, um, so there's a second album is planned as well. 226 00:21:38,386 --> 00:21:43,658 And hopefully it wouldn't take as long as six years for doing this. 227 00:21:43,698 --> 00:21:51,641 Um, we're going on tour on, in, um, December on only five shows to Netherlands, to Germany, one in Poland. 228 00:21:51,641 --> 00:21:56,443 But I think it will work, um, to grow as a band. 229 00:21:56,443 --> 00:22:03,346 as we wrote that album, there was no drama in mind because there was some 230 00:22:03,346 --> 00:22:05,767 very sometimes fall on the floor on it. 231 00:22:05,767 --> 00:22:12,190 um Some even remained uh of the fall on the floor things. 232 00:22:12,190 --> 00:22:15,291 um But do I have the... 233 00:22:17,072 --> 00:22:21,634 If you know that there will be a drummer would change things as well, think. 234 00:22:21,634 --> 00:22:31,718 um we are very keen on, yes, that's right, on album four, four, a little bit straightforward. 235 00:22:32,110 --> 00:22:35,073 Probably it's ambient prop. 236 00:22:38,412 --> 00:22:44,640 having that organic element really helps to add something different to an electronic album. 237 00:22:44,974 --> 00:22:45,634 Absolutely. 238 00:22:45,634 --> 00:22:54,859 So sometimes his guitar playing or metal device has a function of a singer. 239 00:22:55,320 --> 00:23:10,949 And it's unbelievable how fast he can create melody lines out of nowhere to sometimes maybe not so um common chord sequences. 240 00:23:10,949 --> 00:23:13,486 And he's very 241 00:23:13,486 --> 00:23:18,666 very much love for in detail for sound as well. 242 00:23:18,666 --> 00:23:32,626 So there was in his studio, there was so many amps he can switch to and I played I think, I don't know, 40 minutes and he was only playing one note all the time. 243 00:23:32,626 --> 00:23:35,606 And I thought, I probably hate what I'm doing. 244 00:23:35,746 --> 00:23:42,126 But he just tried to find the exactly right sound and then it was all there. 245 00:23:42,206 --> 00:23:42,958 it was 246 00:23:42,958 --> 00:24:00,193 um But there, so probably it's sometimes maybe the same feeling for him when I'm standing like 60, 80 minutes for the Modular system and patching things. 247 00:24:00,233 --> 00:24:10,636 So in this environment where you can change like that top to this speaker and probably even something in between and that microphone setting. 248 00:24:10,636 --> 00:24:12,352 So it's everything there.

249 00:24:12,352 --> 00:24:13,492 this, yeah. 250 00:24:13,492 --> 00:24:21,478 I think it's fair to say, Torsten, you're both veteran musicians and I'm sure you've both spent time looking at each other, admiring what you're doing. 251 00:24:21,478 --> 00:24:28,874 And I do want to sort of take a bit of a step back, if I can, to when you weren't a veteran musician, what was your start in music, Torsten? 252 00:24:28,874 --> 00:24:34,188 What was your musical upbringing that led you to, you know, in this amazing career that you're in? 253 00:24:34,446 --> 00:24:42,346 So I learned, I started as a violin player in the youth radio station in the 80s. 254 00:24:42,346 --> 00:24:47,586 And then I always played flute and like baroque flute and piano. 255 00:24:47,586 --> 00:24:56,706 I played in the 90s drums in a swing band and always played piano and violin. 256 00:24:56,706 --> 00:25:02,346 My first band was actually as a violin player, was close to Newell Army. 257 00:25:03,126 --> 00:25:04,358 And, but it was... 258 00:25:04,546 --> 00:25:05,546 to... 259 00:25:07,667 --> 00:25:22,011 It was the 90s and was acoustic violin and I'm half new, okay, maybe Ponte, but there was no chance to get to electric violin for me and the microphones. 260 00:25:22,011 --> 00:25:25,362 And I young, so I played since in that band. 261 00:25:25,362 --> 00:25:28,392 It was kind of more than goth rock. 262 00:25:28,553 --> 00:25:33,434 And then from goth rock, someone gave me a lot of progressive rock music. 263 00:25:34,734 --> 00:25:39,674 Most of them, now probably one third, were meridian. 264 00:25:39,674 --> 00:25:51,874 So for reasons, was a nursery crime, selling him by the pound, Foxtrot, trick of the tale. 265 00:25:51,874 --> 00:25:58,794 Don't know why, because Lemstrum Boy weren't on that thing. 266 00:25:58,874 --> 00:26:04,434 But misplaced childhood, seasons end, holiday need, and... 267 00:26:04,718 --> 00:26:12,438 and Fugazi and King Trimson called him Trimson King. 268 00:26:12,818 --> 00:26:27,578 From that, I started to dive into the progressive rock music, Genesis, Meridian, sometimes yes, but more King Trimson and mostly from the graph generator. 269 00:26:28,398 --> 00:26:36,020 I think that was the connection between Gothic rock and progressive rock because the phonographed in radio, Peter A. 270 00:26:36,020 --> 00:26:41,421 Hamer is quite dark guy and there's some spooky things in it. 271 00:26:41,742 --> 00:26:49,604 So I was learning um classical music beside everything and tried to make that. 272 00:26:49,604 --> 00:26:56,486 um yeah, I played in a lot of bands and studied composing and piano. 273 00:26:56,486 --> 00:26:57,406 um 274 00:26:57,406 --> 00:27:03,831 And yeah, I think 2003, I got a phone call from someone from Tendent Dreams office. 275 00:27:03,831 --> 00:27:09,395 um And that was, he was working for foreign affairs in the office from Edgar. 276 00:27:09,395 --> 00:27:15,899 And um he was the singer of a Gothic metal band called Progressive Supergamentis. 277 00:27:15,920 --> 00:27:25,086 And there was known, also played a lot of strange dark metal, like it's now called extreme metal, like dead metal, black metal. 278 00:27:25,294 --> 00:27:33,754 things like that because I a lot of sampling and even in 90s and had not the archive. 279 00:27:33,754 --> 00:27:42,394 had two of the A3000 from Yamaha, but you had 128 megabytes on it. 280 00:27:42,394 --> 00:27:44,834 So it's not 32. 281 00:27:44,874 --> 00:27:55,594 So it took think six and a half minutes to load the unbelievable huge Squier sound in that time. 282 00:27:56,034 --> 00:28:09,606 And, um and extreme metal was keyboard wise in that it's all about Springs choirs, French horn, and doing 35 second intro. 283 00:28:09,887 --> 00:28:14,661 And so uh I played a lot of black and death metal things as well. 284 00:28:14,661 --> 00:28:22,842 that was the reason um the guy from Subquamentus knew me and um said 285 00:28:22,842 --> 00:28:25,614 Edgar asked for someone, do you know Cuba Bay? 286 00:28:25,614 --> 00:28:27,465 And they asked three people, guess. 287 00:28:27,465 --> 00:28:37,350 And there was a very detailed to do list um for m do you know that? 288 00:28:37,530 --> 00:28:39,151 It was unbelievable. 289 00:28:39,151 --> 00:28:44,214 I was always was a Cubase guy because I came from Atari. 290 00:28:44,214 --> 00:28:50,198 So if I had used logic, I wouldn't be here now. 291 00:28:50,198 --> 00:28:51,488 You have to use 292 00:28:51,528 --> 00:28:55,800 UBase and not only for one week and that. 293 00:28:55,800 --> 00:29:00,803 And there was even a studio sampler and we called Giga Sampler. 294 00:29:00,803 --> 00:29:05,986 It designated um PC only for a sampler. 295 00:29:05,986 --> 00:29:14,911 um And we worked with that and had luck that I played a lot of cork things in that time. 296 00:29:14,911 --> 00:29:21,634 it was Prophecy, WaveStation, EX, T1 because of the 297 00:29:23,002 --> 00:29:25,863 keys, not for the sound, things like that. 298 00:29:25,863 --> 00:29:35,626 And JD-800, things like that were more important to him than knowing a modular system, to be honest. 299 00:29:35,626 --> 00:29:36,276 I didn't know. 300 00:29:36,276 --> 00:29:41,707 I never patched a modular system or programmed a step sequence like before, Joint, Tender, and Dream. 301 00:29:42,748 --> 00:29:44,448 And that is very strange. 302 00:29:44,448 --> 00:29:51,520 was the normal keyboard guy playing it live and pads, melodies, things like that. 303 00:29:52,570 --> 00:30:05,330 So I came to his studio in Vienna, and Tenere Green Studio, they were just composing for orchestra and bands. 304 00:30:05,410 --> 00:30:10,130 It was Dante Aggeri's Divine Comedy Poblatorium. 305 00:30:10,130 --> 00:30:13,070 And the Paradiso was the connection of both. 306 00:30:13,070 --> 00:30:21,310 And because of my classic composing study background, I probably also got the job

because I can write. 307 00:30:21,458 --> 00:30:27,123 scores and the notes and transpose things for the trumpets. 308 00:30:27,123 --> 00:30:42,916 And after one and a half years sitting on Edgar's side in the studio and just I learned everything about electronic music because okay, I heard a little bit of Prodigy, Nine 309 00:30:42,916 --> 00:30:48,961 Shnails, but not I was not so into that kind of music to be honest. 310 00:30:48,961 --> 00:30:49,944 um 311 00:30:49,944 --> 00:30:53,535 So I learned everything about electronic music from Edgar himself. 312 00:30:53,535 --> 00:30:55,876 So probably the best teacher ever. 313 00:30:56,276 --> 00:31:07,639 And there are so many rules for music, tenor dream-esque music that he elaborated in 40, 50 years. 314 00:31:07,639 --> 00:31:18,222 Even the number of steps um repeating the idea of um uneven intervals or step 315 00:31:18,222 --> 00:31:33,342 Or there's like 15th again, 16th again, so can use that like the fourth and the seventh in intervals to make it more tense and then the release of keeping rolling and there are 316 00:31:33,342 --> 00:31:36,642 strict rules for everything and states in tendon-degenerating. 317 00:31:36,722 --> 00:31:47,630 And so I had one and a half year learning this and it was so interesting and it was so different word and in 2004, 318 00:31:47,630 --> 00:31:54,730 We started to compose the first album together, together with the son in that time called Chandak was released in 2005. 319 00:31:54,730 --> 00:31:59,270 And since 2005, I'm Yeah. 320 00:31:59,270 --> 00:32:04,650 I think it's more than 70 hours, something like that. 321 00:32:04,690 --> 00:32:06,510 We recorded a lot. 322 00:32:06,530 --> 00:32:12,710 So we composed door to door in his house in Vienna and sometimes in Berlin. 323 00:32:13,050 --> 00:32:17,208 There was a big studio and yeah. 324 00:32:17,208 --> 00:32:23,653 And Tosin, I need to ask you, obviously Edgar, um and you worked well together. 325 00:32:23,653 --> 00:32:28,046 What do you feel was the sign that that relationship was going so well? 326 00:32:28,046 --> 00:32:39,405 I mean, obviously the QBase issue was one part of it, but what worked so well to the extent that obviously after Edgar's unfortunate passing and so on, that the mantle was 327 00:32:39,405 --> 00:32:40,356 handed to you. 328 00:32:40,356 --> 00:32:43,548 What was the secret of the success of that relationship? 329 00:32:43,950 --> 00:32:46,991 um We both like to work. 330 00:32:46,991 --> 00:32:49,171 um strange. 331 00:32:49,171 --> 00:32:53,833 um So Edgar's one of the most hardworking guys I ever met. 332 00:32:53,833 --> 00:32:57,894 So there was some Dropbox invitation for a new track on Christmas Eve. 333 00:32:57,894 --> 00:33:06,586 uh he said, maybe I should think about 27th and things like that. 334 00:33:06,586 --> 00:33:13,486 But in the first weeks, he asked me if I ever were in the garden. 335 00:33:13,486 --> 00:33:15,036 And they are, there's a garden. 336 00:33:15,036 --> 00:33:17,327 Yeah, there's also a big pool. 337 00:33:17,327 --> 00:33:18,187 Oh, great. 338 00:33:18,187 --> 00:33:20,928 uh Really, never was... 339 00:33:20,928 --> 00:33:25,267 uh Well, there's a terrace and there's a big, garden behind it. 340 00:33:25,267 --> 00:33:27,730 Never was in studio the last three weeks. 341 00:33:28,510 --> 00:33:31,291 So, and I like to work. 342 00:33:31,386 --> 00:33:36,342 I love sitting on music and spending my time. 343 00:33:36,342 --> 00:33:43,624 But sometimes it's like, it's not, I have to do music, forgive me if I don't do music. 344 00:33:44,110 --> 00:33:50,514 um So if you spend three days without playing, that doesn't feel right. 345 00:33:50,735 --> 00:33:57,469 And I think that attitude was very important and what is the most important thing. 346 00:33:57,469 --> 00:34:02,163 And this is not hard to describe because you can't force it. 347 00:34:02,163 --> 00:34:11,989 um You have to find a common language about music when it came to atmosphere. 348 00:34:13,230 --> 00:34:19,555 to like the dynamic envelopes and even sounds. 349 00:34:19,555 --> 00:34:30,784 So, um Tendron Dream sounds are not related to instruments that normally physically exist. 350 00:34:30,784 --> 00:34:31,544 So, it's not... 351 00:34:31,544 --> 00:34:39,609 So, but if you listen to Tomita, um that sounds like a bowl. 352 00:34:39,609 --> 00:34:44,012 a bowie or this like a clarinet, there's a string, there's a trumpet. 353 00:34:44,012 --> 00:34:48,334 uh Tenor and rim is more surrealistic. 354 00:34:48,334 --> 00:34:56,118 um The envelopes and filter movements are not connected to this is a harp sound. 355 00:34:57,019 --> 00:35:09,592 like harp maybe is pizzicato would be even close but the idea to have very long involving things um and talking about that kind of sounds. 356 00:35:09,592 --> 00:35:12,866 without doing strange noises with your mouth. 357 00:35:13,788 --> 00:35:19,124 Just describing the idea behind it and why do you 358 00:35:21,428 --> 00:35:38,465 even the idea of resonance or peak, you think MS-Bandy-wise, um it's related to the key because there's a notch in it. 359 00:35:38,605 --> 00:35:46,368 so it's um gaining one frequency and things like that for some musicians. 360 00:35:46,368 --> 00:35:49,529 It's great, for some musicians. 361 00:35:51,050 --> 00:35:53,862 No, I like the Pio sound. 362 00:35:53,862 --> 00:35:58,010 No, no, but it's a wrong note inside the resonance. 363 00:35:58,010 --> 00:36:17,984 I think to find a common language and to not to ask why this is 15 minutes um and try to find new sounds and try to find maybe there is no new chord sequence anymore. 364 00:36:20,502 --> 00:36:33,430 I think it's not impossible but to find a not so much used, often used chord sequence and try to find the different sounds on it and then just try to involve that idea. 365 00:36:33,430 --> 00:36:35,581 And Torsten,

you've raised a really great point. 366 00:36:35,581 --> 00:36:44,813 just want to butt in there about new sounds because I know since you've been involved with Tangerine Dream, the sound has obviously continued to development. 367 00:36:44,813 --> 00:36:51,135 feels like it's been respectful to the original catalog during the seventies and eighties, but you've also modernized the sound. 368 00:36:51,135 --> 00:36:59,438 um Is that a weight on your shoulders, the legacy that's been handed onto you and how do you deal with that and keep modernizing? 369 00:36:59,438 --> 00:37:00,910 that's a lot of pressure. 370 00:37:00,910 --> 00:37:01,750 Yeah. 371 00:37:02,611 --> 00:37:04,002 And you can't please anyone. 372 00:37:04,002 --> 00:37:13,459 there was no moment um when people didn't say it, that doesn't sound like Tender Dream anymore. 373 00:37:13,459 --> 00:37:17,583 um So I'm used to that. 374 00:37:17,583 --> 00:37:27,590 Now, the strange thing is Edgar had a kind of a problem with analog and old gear in 2000. 375 00:37:27,916 --> 00:37:31,387 because he was so bored about the detuning of it. 376 00:37:31,387 --> 00:37:39,649 And he was so happy to, I'm using that and this is just a very tune stable plug-in or things like that. 377 00:37:39,949 --> 00:37:48,451 And I tried to bring them back um and yeah, to record them very much in tune. 378 00:37:49,612 --> 00:37:52,553 And um it's quite hard. 379 00:37:52,553 --> 00:37:56,834 tried to cameras close to his original recordings. 380 00:37:58,094 --> 00:38:02,434 Because there is a lot of compositions, so I have to play those. 381 00:38:02,494 --> 00:38:07,194 I wouldn't improvise on a composition from someone else. 382 00:38:07,194 --> 00:38:10,654 it's not my type of thing. 383 00:38:10,654 --> 00:38:17,834 it must sound homogonic in a way if you play concerts. 384 00:38:17,854 --> 00:38:20,474 And this is a hard part. 385 00:38:20,894 --> 00:38:25,926 So sometimes it's a mixture, so it's not. 386 00:38:26,070 --> 00:38:38,695 not everything is live, some epigiators and the drums are synced with the um audio MTC, so the sequences are starting every time at the same point. 387 00:38:38,695 --> 00:38:48,099 So I can change presets and the sequences came through the Modular and some mini towers, some the RME. 388 00:38:48,099 --> 00:38:51,280 um So it's always the same bass, live. 389 00:38:51,280 --> 00:38:55,462 ah Because it's running through that. 390 00:38:55,534 --> 00:39:01,836 um And my mother's system has two DI boxes, sorry, 10 DI boxes. 391 00:39:01,957 --> 00:39:06,379 The one thing that I, it's like having presets live. 392 00:39:06,379 --> 00:39:18,083 So I have the CV MIDI converter, so I have like 10 presets in the modeler. 393 00:39:18,584 --> 00:39:23,785 Tendril Dreamware, involving or progressing in a way every year. 394 00:39:25,122 --> 00:39:26,443 five years. 395 00:39:27,204 --> 00:39:28,545 So you can't please anyone. 396 00:39:28,545 --> 00:39:39,254 So one of my favorite bands, well, they also are mastering our albums with Tendrin Dreams and my solo album and even the Bioscope album because I really love the guys. 397 00:39:39,254 --> 00:39:49,091 Sige Ros and I in Reykjavik, Iceland in a studio called Sundklavlin, which is a public swimming pool in Icelandic. 398 00:39:49,091 --> 00:39:53,335 They said they really liked Tendrin Dream before the sequences came in. 399 00:39:53,335 --> 00:39:54,525 they are 400 00:39:54,606 --> 00:39:56,986 big fan of Artam and Sight. 401 00:39:58,366 --> 00:40:05,366 And by Fedra, it was, But they are right. 402 00:40:05,366 --> 00:40:12,046 So if you love Sight, Fedra is totally sounding different to theirs two years after that. 403 00:40:12,046 --> 00:40:22,254 if you listen to Exit, like 82 or Underwater Sunlight, 86, and then things from 90s, you probably won't believe that's the same band. 404 00:40:22,254 --> 00:40:23,028 completely different. 405 00:40:23,028 --> 00:40:23,878 um 406 00:40:24,428 --> 00:40:36,426 Yeah, so if you listen album to album, which is one week, something like that, um in time, you see a red line between that. 407 00:40:36,426 --> 00:40:46,653 And I tried to not to do it to be very respectful to the old stuff, but don't make it a museum. 408 00:40:46,653 --> 00:40:50,896 Because that would be probably sometimes easier. 409 00:40:50,896 --> 00:40:53,332 um But 410 00:40:53,332 --> 00:41:08,846 If you're musician, um there is a need to, longing to create new music and the opportunity to have the great moments, anything moments, few. 411 00:41:08,846 --> 00:41:13,868 I think that that's not bad, but you also can fail big. 412 00:41:13,868 --> 00:41:14,748 That's a risk. 413 00:41:14,748 --> 00:41:23,170 um But it's all about that, I guess, not playing just Federer, Rubicon, Tzotzi. 414 00:41:23,412 --> 00:41:25,799 in three years' service. 415 00:41:26,830 --> 00:41:28,051 And that's great, Torsten. 416 00:41:28,051 --> 00:41:37,636 think, you know, you really illustrate the point that you're continuing to move forward as a musician, but you're still being very respectful to the past as well. 417 00:41:38,136 --> 00:41:44,380 Following on from that, know, Tangerine Dream obviously has very distinct eras throughout their catalogue over the years. 418 00:41:44,380 --> 00:41:48,281 You know, you've got the Virgin years and the Blue years and et cetera. 419 00:41:48,562 --> 00:41:51,423 You're going through the quantum era. 420 00:41:51,423 --> 00:41:56,674 How would you define that just beyond the personnel? 421 00:41:56,674 --> 00:41:59,059 side of things, so aesthetically. 422 00:41:59,758 --> 00:42:06,403 So the quantum era was the first that was named before the era itself. 423 00:42:06,403 --> 00:42:10,906 um So it's hard to describe that. 424 00:42:10,906 --> 00:42:19,471 So it was normally related to the record company, like the Virgin years. 425 00:42:19,732 --> 00:42:28,608 And there

was, I guess there was no very crystallized plan to say 426 00:42:29,002 --> 00:42:32,103 after five years we will leave virtually. 427 00:42:32,964 --> 00:42:36,895 So probably not. 428 00:42:36,895 --> 00:42:40,707 But the quantum idea is that everything is connected to each other. 429 00:42:40,707 --> 00:42:47,089 um That um things you play in the room are related even to the audience. 430 00:42:47,970 --> 00:42:53,032 So I'm doing this as an introduction of every concept. 431 00:42:53,032 --> 00:42:57,344 So I never spoke to the audience because 432 00:42:57,344 --> 00:43:02,176 if you do instrumental music, um it's grounding. 433 00:43:02,176 --> 00:43:06,398 The human voice is grounding things um very much. 434 00:43:06,398 --> 00:43:12,320 But sometimes it seems for the audience very arrogant because of that. 435 00:43:12,320 --> 00:43:17,062 And there were some harsh critics because of that. 436 00:43:17,383 --> 00:43:25,772 So normally I said even not the name of Hoshiko and Paul, but it was appearing on the LED wall. 437 00:43:25,772 --> 00:43:35,006 behind me and even take a safe trip back home in the language um was in the language of the country on the LED wall. 438 00:43:35,006 --> 00:43:46,912 But now I'm speaking a little bit before concert and we always play the session in the resonance tone or key of the room. 439 00:43:46,912 --> 00:43:50,636 You always find some, you find difference, some 440 00:43:50,636 --> 00:43:55,868 some lights are shaking and then the ground is shaking. 441 00:43:55,868 --> 00:44:01,811 The Mube base is very huge. 442 00:44:03,051 --> 00:44:13,206 I opened a door with it, I destroyed an exit sign light with it while the audience were there just to show them. 443 00:44:13,206 --> 00:44:15,316 And the exit... 444 00:44:15,316 --> 00:44:18,978 um 445 00:44:18,978 --> 00:44:21,500 So it's not esoteric, it's just physics. 446 00:44:21,500 --> 00:44:27,805 can, with base sequence, you can let the room shake in a way. 447 00:44:28,006 --> 00:44:34,611 And that's easy part of it, but to have an idea where everything is connected. 448 00:44:34,611 --> 00:44:40,876 If I press that button, you will feel it in your stomach and your share will move. 449 00:44:40,936 --> 00:44:48,392 And we will um react differently if you react differently. 450 00:44:48,416 --> 00:44:51,386 It's all one, it's in the same room. 451 00:44:51,386 --> 00:44:56,218 We see you, we feel you, we, sometimes you're clapping, sometimes not. 452 00:44:56,218 --> 00:44:58,329 There's this country by the difference. 453 00:44:58,329 --> 00:45:09,151 Sometimes we play something in some countries, we're playing opera houses, philharmonic halls, and they are used to just wait until the last note. 454 00:45:09,352 --> 00:45:18,062 And sometimes you're, and you'll leave like three seconds space between some tracks and nothing is happening. 455 00:45:18,062 --> 00:45:25,502 That is affecting the next track because are they

hearing anything? 456 00:45:27,862 --> 00:45:31,442 So everything is connected and that's the idea of quantum. 457 00:45:31,442 --> 00:45:35,622 So it starts with Ulrich Schnauz in 2014. 458 00:45:35,622 --> 00:45:44,342 played the last three concerts with Edgar as a four piece was Hodgko, Ulrich, Edgar and me. 459 00:45:44,342 --> 00:45:47,222 We're in Australia, Melbourne. 460 00:45:47,694 --> 00:45:58,280 town hall and then we played um the Sorcerer twice and the movie, the movie that we're shown behind us and we played the soundtrack to it. 461 00:45:58,280 --> 00:46:13,488 Strangely, the last um minutes were totally improvised and that was really improvised because our version of the movie we rehearsed to was shorter. 462 00:46:14,709 --> 00:46:16,750 So we have... 463 00:46:16,750 --> 00:46:19,870 microphones on stage to talk to each other. 464 00:46:19,990 --> 00:46:22,810 And I don't think that's right. 465 00:46:22,810 --> 00:46:26,730 So I think at least four minutes, I have no clue. 466 00:46:28,810 --> 00:46:36,150 Probably 24 pictures per second to 25 in Germany. 467 00:46:36,750 --> 00:46:41,550 After one and a half hour, and then you're missing one picture. 468 00:46:42,090 --> 00:46:45,210 It's enough for four minutes. 469 00:46:45,630 --> 00:46:46,078 Yeah. 470 00:46:46,078 --> 00:47:05,351 And so, and so, was the last music with Edgun Stage was kind of, okay, let's do some five minutes sorcerers in editing, just add some music to it. 471 00:47:05,812 --> 00:47:15,668 And after that, that was a quantum era, because before there was a guitar player, percussion, saxophone and things like that. 472 00:47:15,926 --> 00:47:21,511 And it worked good as Edgar's decision. 473 00:47:21,511 --> 00:47:38,836 um But the idea was to come back to electronic sequence driven music to the core of tenor and dream, but with a kind of contemporary approach to it, sound wise and composition 474 00:47:38,836 --> 00:47:39,246 wise. 475 00:47:39,246 --> 00:47:43,710 um Then he sadly died. 476 00:47:44,362 --> 00:47:48,724 and half months later and really unexpected. 477 00:47:48,724 --> 00:47:55,446 it was like the last email was like, I bought new sound cards, see you next week in Vienna. 478 00:47:55,446 --> 00:48:06,351 um But Edgar was the most hardworking person and there were plans for everything. 479 00:48:07,151 --> 00:48:11,513 was like strategies for that and when that happened. 480 00:48:11,513 --> 00:48:14,154 And so I was never rising 481 00:48:14,966 --> 00:48:16,427 and say, I will do this. 482 00:48:16,427 --> 00:48:18,778 I probably won't have done this. 483 00:48:18,778 --> 00:48:27,963 This was probably just another quest from my teacher and master oh for that kind of music. 484 00:48:27,963 --> 00:48:43,406 So it was strange to turn the term music director, like I was composing many things and was doing the concert preparations and things like that since 2011. 485 00:48:44,782 --> 00:48:56,742 And so it

was his idea and also the idea that the concept of Tindran Dream and the philosophy behind it is stronger than anyone involved. 486 00:48:56,742 --> 00:48:58,982 So it can last people. 487 00:48:58,982 --> 00:49:03,522 I think there are 24 people, 25. 488 00:49:04,102 --> 00:49:06,702 So that's not true, probably more. 489 00:49:06,702 --> 00:49:14,462 So in 67, there was a time where I think everyone was in the band who joined the rehearsal space for one day. 490 00:49:14,510 --> 00:49:22,070 I think even there are six different lineups from 67 to early 68. 491 00:49:22,430 --> 00:49:27,070 But it was only Edgar and no one else. 492 00:49:27,070 --> 00:49:31,330 So it was a drummer, they had a singer and violin player. 493 00:49:31,930 --> 00:49:36,930 They had a bass player with an unbelievable great name, Happy Dieter. 494 00:49:37,050 --> 00:49:44,674 And then he met Conor Schnitzler and Klaus Schulze and the first recording was 1970 before it was... 495 00:49:44,674 --> 00:49:45,895 complete different band. 496 00:49:45,895 --> 00:49:49,257 After Ulrich left, um now Paul is playing. 497 00:49:49,257 --> 00:49:52,539 I know Paul from the university. 498 00:49:52,660 --> 00:49:57,383 He's two years younger, but we met, yeah, cafeteria and the soul. 499 00:49:57,383 --> 00:50:02,386 It was the same university. 500 00:50:02,386 --> 00:50:13,646 he's a very staccato-esque player, which is a good addition, I guess, um because um it's very rhythmical and never will play 501 00:50:13,646 --> 00:50:14,587 things like that. 502 00:50:14,587 --> 00:50:16,848 You don't need to same person twice. 503 00:50:18,090 --> 00:50:23,634 it's now, it's his sleeping room for things. 504 00:50:23,675 --> 00:50:35,084 And that's also very much part of the progression um that there's more space in the music. 505 00:50:35,084 --> 00:50:41,970 um And even we try to come back to the idea that one 506 00:50:42,094 --> 00:50:45,154 seamless sound for a melody is enough. 507 00:50:45,694 --> 00:50:48,374 So it's easy to stack things. 508 00:50:48,374 --> 00:50:58,014 I think that's something I did not so good in the early 2000s, just stacking sounds, especially lead sounds. 509 00:50:58,014 --> 00:51:01,874 have a bell, then adding a strange piano. 510 00:51:01,874 --> 00:51:11,494 have some DX7, TG777, the bellish sounds, five together, something like that. 511 00:51:11,918 --> 00:51:14,860 um But it's not brave to do that. 512 00:51:14,860 --> 00:51:23,445 um And you don't hear the signal, the frequencies that are missing in that sound. 513 00:51:23,445 --> 00:51:29,448 And that's a characteristic thing about it and the shamanic thing about it. 514 00:51:30,469 --> 00:51:35,952 So try to have more confidence in sound. 515 00:51:36,152 --> 00:51:40,084 I thought about saying the word melody, so but coming... 516 00:51:40,322 --> 00:51:40,932 back to Steve. 517 00:51:40,932 --> 00:51:46,924 Steve is first person who did something like a hook or melody, which I don't... 518 00:51:47,744 --> 00:51:50,345 I'm using that term in a good way. 519 00:51:51,045 --> 00:51:59,187 I like the idea of motifs, which are melody lines, but appears three times in 25 minutes. 520 00:51:59,228 --> 00:52:06,030 I like the idea to have some, okay, that is kind of hookish, but a motif and not a melody line. 521 00:52:06,030 --> 00:52:07,374 um 522 00:52:07,374 --> 00:52:09,274 So Steve is unbelievable doing this. 523 00:52:09,274 --> 00:52:11,933 don't, I'm doing motives. 524 00:52:12,914 --> 00:52:30,254 And so that's the idea why we like to go more single lines, more breathing stuff, for sure sequences, because there's no, at the end of the day, it's not so many options. 525 00:52:30,254 --> 00:52:35,214 have 16 or 32 steps, you can connect things, you know what I mean. 526 00:52:35,214 --> 00:52:36,054 Yeah. 527 00:52:36,722 --> 00:52:37,722 depends on the sequence. 528 00:52:37,722 --> 00:52:44,845 I'm using the Schrittmacher for 16 step, you can connect each step to each other. 529 00:52:45,066 --> 00:52:58,891 So even the transposition just move in like fourth and the others 15 to 16 and the 16th and you can do all the polyrhythm stuff with it. 530 00:52:58,891 --> 00:53:05,034 And for other things, the polysec from the Polish company. 531 00:53:05,034 --> 00:53:06,190 um 532 00:53:06,190 --> 00:53:07,390 as well. 533 00:53:07,450 --> 00:53:18,610 says 32 steps, 8 lines, so you have 2256 LEDs on it and you see what's happening. 534 00:53:19,010 --> 00:53:22,950 sad thing on that is you don't see the node that is playing. 535 00:53:23,330 --> 00:53:25,110 You have to press the button. 536 00:53:25,110 --> 00:53:27,970 So that's the best thing about the Schrittmacher. 537 00:53:27,970 --> 00:53:32,930 You see 16 nodes and you can change them and you see all 16. 538 00:53:32,930 --> 00:53:34,400 I don't 539 00:53:34,496 --> 00:53:36,587 Yeah, some sequences. 540 00:53:36,727 --> 00:53:37,998 I don't get it to be honest. 541 00:53:37,998 --> 00:53:50,575 Well, I like to see the notes and I really love Dieter Döpfer, but a sequence with like semitones and it's one to ten. 542 00:53:50,575 --> 00:53:56,888 Yeah, I'm using this for filter movements and it's unbelievable great. 543 00:53:56,888 --> 00:53:59,860 But let's do at least 12. 544 00:53:59,860 --> 00:54:01,361 Yes. 545 00:54:01,361 --> 00:54:02,361 That's not, 546 00:54:04,535 --> 00:54:05,794 OK, so sorry. 547 00:54:05,794 --> 00:54:07,435 No, I think we're in agreement. 548 00:54:07,435 --> 00:54:09,656 No, I think we're in agreement there, Torsten. 549 00:54:09,656 --> 00:54:12,805 And so I know we've got to get you on a plane relatively soon. 550 00:54:12,805 --> 00:54:19,490 So I'm going to ask you one last question, which is one that all our guests hate, which is the desert island disk question. 551 00:54:19,490 --> 00:54:23,652 So if you had to pick five albums to take to a desert island, what would

they be? 552 00:54:23,652 --> 00:54:24,602 Whoa. 553 00:54:24,654 --> 00:54:34,398 So um the very arty answer would be there is an album on mini disc by um Brian Eno. 554 00:54:34,479 --> 00:54:45,164 Because Brian Eno, uh the mini disc is the only medium where you don't have a buffer using it because it's pre-buffering. 555 00:54:45,164 --> 00:54:49,966 And it was cut in, I think, 16 bar pieces. 556 00:54:50,292 --> 00:54:55,386 And if you press shuffle, you always hear a never ending new album. 557 00:54:55,527 --> 00:55:01,051 But this probably no. 558 00:55:01,051 --> 00:55:06,555 um Five leaves left, Nick Drake. 559 00:55:07,797 --> 00:55:10,599 Will be smaller hours, Frank Sinatra. 560 00:55:10,599 --> 00:55:18,005 um So Genesis, I can hear it in my head. 561 00:55:18,005 --> 00:55:19,316 I listen to it. 562 00:55:20,120 --> 00:55:20,990 thousand times. 563 00:55:20,990 --> 00:55:25,332 So I probably don't need it physical. 564 00:55:25,332 --> 00:55:31,665 So if I want to listen to first or fifth or surface radio, it's there. 565 00:55:31,665 --> 00:55:33,395 So it's too easy. 566 00:55:33,395 --> 00:55:40,458 Descincuration of the cure because of teenage related time reasons. 567 00:55:40,458 --> 00:55:50,182 there's always um the concept of guilty pleasure is strange because you still like it and why it's a 568 00:55:50,444 --> 00:55:54,925 I really like August and everything after, by counting crows. 569 00:55:54,925 --> 00:55:55,987 You nice. 570 00:55:57,903 --> 00:56:04,248 Yeah, because it's, I think, I'm missing a word in English. 571 00:56:04,829 --> 00:56:06,731 What's the name on Seagulls? 572 00:56:06,731 --> 00:56:08,092 It has to be Seagulls. 573 00:56:08,092 --> 00:56:15,238 What was the name of the... 574 00:56:15,852 --> 00:56:16,563 and 575 00:56:16,910 --> 00:56:18,670 There's a word for it, yeah. 576 00:56:20,430 --> 00:56:21,870 Yeah. 577 00:56:23,290 --> 00:56:32,650 And because it's not easy to listen in my head because it's even not Icelandic, it's a fantasy language like Hoplantic. 578 00:56:32,650 --> 00:56:36,810 So it's very hard to get this note by note. 579 00:56:37,170 --> 00:56:40,470 yeah, you can't learn the words. 580 00:56:40,470 --> 00:56:44,570 You could just try to, yeah, sound like that. 581 00:56:45,190 --> 00:56:49,470 But I think that's the reason it feels new. 582 00:56:49,695 --> 00:56:51,212 if you listen to it again. 583 00:56:51,212 --> 00:56:51,672 Absolutely. 584 00:56:51,672 --> 00:56:53,023 Look, wonderful picks. 585 00:56:53,023 --> 00:57:02,841 um And I think there was a wonderful pick made when you were chosen to be part of Tangerine Dream as well, let alone Steve's pick of you as a collaboration partner on this 586 00:57:02,841 --> 00:57:04,472 amazing Bioscope album. 587 00:57:04,472 --> 00:57:08,195 We can't thank you enough for your time with this has been an absolute pleasure. 588 00:57:08,195 --> 00:57:16,031 We've barely scratched the surface, but I know you need to get on a plane and I know you've only recently been in Australia, but we look forward to seeing you down here again 589 00:57:16,031 --> 00:57:17,842 in coming years. 590 00:57:18,455 --> 00:57:19,401 Yeah. 591 00:57:27,424 --> 00:57:28,375 And there we have it. 592 00:57:28,375 --> 00:57:32,297 Matt, Torsten was an absolute font of knowledge on so many issues. 593 00:57:32,297 --> 00:57:36,879 I think I said in the intro, we could have spoken for six hours and I don't think it's a word of a lie. 594 00:57:36,879 --> 00:57:37,690 Absolutely. 595 00:57:37,690 --> 00:57:38,030 Yeah. 596 00:57:38,030 --> 00:57:40,941 What a pleasure to talk to someone like that. 597 00:57:40,941 --> 00:57:41,602 Yeah. 598 00:57:41,602 --> 00:57:45,464 It's an absolute honor and a privilege and we can't thank Torsten enough for his time. 599 00:57:45,464 --> 00:57:47,325 And he literally was jumping on a plane. 600 00:57:47,325 --> 00:57:49,366 I never thought to ask him who he was touring with. 601 00:57:49,366 --> 00:57:57,038 I'm not sure whether Tangerine Dreamer doing more dates or whatever it is, but he was, he's certainly a busy man and we appreciate him taking the time. 602 00:57:57,038 --> 00:58:00,578 And as always, we appreciate you taking the time to listen to us. 603 00:58:00,578 --> 00:58:01,578 It's hugely appreciated. 604 00:58:01,578 --> 00:58:04,378 And Matt could literally couldn't have done this one without you. 605 00:58:04,378 --> 00:58:08,838 I'm a Tangerine Dream fan, but it's your knowledge that helped make this show what it was. 606 00:58:08,838 --> 00:58:09,978 So thank you. 607 00:58:09,978 --> 00:58:10,938 Oh, thank you, David. 608 00:58:10,938 --> 00:58:14,118 I really appreciate you asking me along to this one. 609 00:58:14,118 --> 00:58:15,898 And I'm sure it won't be the last. 610 00:58:15,898 --> 00:58:16,738 You hear that bindi? 611 00:58:16,738 --> 00:58:18,258 Do you hear that? 612 00:58:21,056 --> 00:58:23,868 And we also need to call out to our gold and silver supporters. 613 00:58:23,868 --> 00:58:26,571 So the amazing Tammy Katcher from Tammy's Musical Studio. 614 00:58:26,571 --> 00:58:28,932 Thank you as always for your ongoing support. 615 00:58:28,932 --> 00:58:30,974 Mike Wilcox at Midnight Mastering. 616 00:58:30,974 --> 00:58:36,519 If you do create your own work and you need someone great to mix and master it, Mike is the guy. 617 00:58:36,519 --> 00:58:39,621 uh Dave Bryce and the team at themusicplayer.com forums. 618 00:58:39,621 --> 00:58:41,023 Thank you as always. 619 00:58:41,023 --> 00:58:44,476 And last but definitely not least, and Dewey, this is two episodes in a row. 620 00:58:44,476 --> 00:58:46,527 I've made you last but not least. 621 00:58:46,527 --> 00:58:48,369 Dewey Evans from the Sunnylander Wales. 622 00:58:48,369 --> 00:58:50,082 Thank you sir for your support. 623 00:58:50,082 --> 00:58:51,952 So we'll be back in a couple of weeks. 624 00:58:51,952 --> 00:58:53,067 Thank you again, Matt. 625 00:58:53,067 --> 00:58:55,135 And until then, keep on playing.