REALISTIC - PRIVATE MOMENTS - Interview
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Online interview with James Towning October, 2001
http://groups.yahoo.com/group/illegalart
ILLEGAL ART: Before doing music as Realistic you recorded a multitude of pop tracks as Fact TwentyTwo. What brought about the change stylistically from synthesized recordings with vocals to mainly using samples?
REALISTIC: I got tired of writing, performing, and recording vocals. I had always been frustrated with the vocals sticking out as this alien organic part of the track. I wanted more control of the sounds. Most of the Fact 22 lyrics are very personal too. It's weird having that out there. I also like how instrumental music is less subjective. I would like to make vocal pop music again. Maybe a covers album...
ILLEGAL ART: Private Moments, though, actually contains a few tracks in which you have a consistent vocal part. In comparison to just singing, how difficult is the process of manipulating voices from borrowed material?
REALISTIC: It's not so difficult but it is labor intensive. I want to do more with sampling vocals. I'd like to try to reconstruct some old tracks of mine from the 8-track reel-to-reel tapes I have. I think that would be a fun remix project.
GREGG: Did you specifically work out this album as a whole? Or is it more of a collection of songs? If created as a whole, what was your aim with it?
REALISTIC: It's more a collection of songs.
GREGG: Is your music for the dancefloor or for the do-your-homework-and-listen-to-music crowd?
REALISTIC: The do-your-homework-and-dance-around-the-house crowd I suppose. I certainly don't target the dancefloor audience.
GREGG: What kind of music do you listen to?
REALISTIC: Mostly contemporary electronic stuff. Warp, Rephlex, Ninjatune etc
What kind of music did you listen to over the course of making this album?
REALISTIC: Same stuff...
ILLEGAL ART: These are all UK labels. Despite being influenced by that particular scene, do you think of your music as being more reflective of American culture and your immediate surroundings?
REALISTIC: No, I don't think of that. American culture is practically everywhere right?
ILLEGAL ART: Unfortunately yes, but I'm still curious to know if you think of your music as different from the output of those labels? And if so, how or why do you think it is different?
REALISTIC: It's hard to say. The output of the those labels I mentioned is pretty broad. A big difference between my music and the output of those labels is my use of uncleared samples. Gotta' love Illegal Art (and Seeland)!
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"The only time I get sensory overload is before a track is complete and too much is going on. Then I start picking away until I'm satisfied with the amounts of clarity and clutter."
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Perhaps I over simplified earlier when asked what I listen to. I've been a big electronic music fan since I was in college many years ago. I have tons of records. Mostly the UK scene. Artists like Human League, Cabaret Voltaire, Wire, Art of Noise, Coil, Fad Gadget, and Meat Beat Manifesto are all still listened to (by me) next to the likes of Bogdan Raczynski, The Gentle People, Boards of Canada, Amon Tobin, Luke Vibert etc. I also go off on binges of Queen, ELO, XTC, The Beatles, Bowie etc. I can't ignore the fact that music I listen to has an affect on music I make. I do think I listen to a broad enough range that no one influences me more.
GREGG: Was there anything you heard for the first time while making the album that had a particular impact on you?
REALISTIC: I bought a drum set during that time. I think that impacted my programming. For the better... I also started collecting classic-rock mp3s too... nothing new.
SMH: I hear quite a wide variety of sounds on the record. What are your criteria for choosing source materials?
REALISTIC: A couple of the tracks were versions of compilation tracks did have strict criteria. Otherwise, no real criteria to speak of other than amusing myself.
SMH:Do you have any personal rules in this regard, for instance, are there sources you just will not sample?
REALISTIC: I'd never say never but... I usually shy away from sampling contemporary artists working in the same area. Feels more like plagiarism to me.
ILLEGAL ART: One comment that a friend made to me about Private Moments is that it is extremely dense. After about half of the album he couldn't handle any more information. Do you ever experience any sensory overload with your own music?
REALISTIC: I like the "extremely dense" comment. I mostly notice the moments in my music that could be denser. I really enjoy composing multi-layered audio (and video) and I have a high capacity for listening to it... obviously. Probably all the years of channel surfing and skipping around records and CDs played a part...
The only time I get sensory overload is before a track is complete and too much is going on. Then I start picking away until I'm satisfied with the amounts of clarity and clutter.
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ILLEGAL ART: On both Maidenhead and Private Moments you use images of people with down syndrome. Also the description of Maidenhead on your web page says "Seventeen retarded children lined-up and displayed for the whole world to hear." Can you explain the relationship between your music and the mentally handicapped?
REALISTIC: The text used to describe the Maidenhead tracks refers to how I perceive that collection of songs. An awkward, imperfect, oddball, group of "children" gathered together for the purpose of making a document. Otherwise, I haven't quite figured out the relationship yet. I'm intrigued with the image of the handicapped person and I always have been.
All of the handicapped images that I use are from found photos or gifts from friends. Note that the girl's face on the Private Moments CD is my niece making a face for the camera.
ILLEGAL ART: In your view is there any difference between recontexualizing "found photos" as opposed to purposely distributed music?
REALISTIC: Yes there is a difference. The found photos are one of a kind pieces of memorabilia that I happen through chance to get my hands on. They aren't mass-produced copies of someone's art.
Are you referring to file sharing (Napster) when you say "purposely distributed music?"
ILLEGAL ART: Sorry, I can see how my question wasn't very clear. What I'm getting at is that music is often willingly pushed out into society by those who make it. An argument for appropriating that material is that we should be able to react to these objects that we're confronted with daily. Found photos are somewhat different since they were never meant for you to consume in the first place. When someone recontextualizes a shoe commercial no one cares cares about the privacy of the shoe company or even the actors in the commercial. But if an artist finds their neighbors home video tapes in the trash pile, using them without consent goes beyond mere copyright violation.
So the question is do you consider this difference when recontextualizing?
REALISTIC: Sure I consider it when I'm choosing source material. I prefer to use found objects, recordings, and photos whenever possible. I think it makes the final product more personal and interesting. I do try not to "cross the line" when it comes to using the found things and respect people's privacy.
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"I prefer to use found objects, recordings, and photos whenever possible. I think it makes the final product more personal and interesting."
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SHAWN WOLFE: Speaking of recontextualization, the events of September 11th (and now the ongoing heightened state of alert, anthrax scares, etc.) seem to have thrown the entire culture into a new context. Have you felt this personally or creatively?
REALISTIC: Yes I have felt this personally. The loss of innocent life and the destruction in Manhattan makes me want to curl up and cry. I'm not sure what the "new context" is yet. Right now we are in the middle of it. I am optimistic there will be a "normal" again some day.
SHAWN WOLFE: Is there anything about your artistic methods or motives that has changed (whether short-term or possibly long-term) as a result of these events?
REALISTIC: It's too soon to say specifically. I find myself, as a lot of people are doing right now, re-analyzing life. Looking at the big picture and all... As realizations are made I can't help but think that "it" will have some effect on my music/art etc.
ILLEGAL ART: Besides Realistic, what other activities are you involved with?
REALISTIC: I do freelance graphic design. Mostly video and web projects. It pays the bills and is kind of interesting.
ILLEGAL ART: What is the typical day like for James Towning?
REALISTIC: I work on stuff most of the day. Whether it's new music or some paying design project, I'm usually found working on the computer doing something. When I'm not working, I like to hang out with friends, or go see some local rock band, or do nothing and watch tv or sleep.
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ILLEGAL ART: If you could do a "real" remix of any artist or song and gain access to all the seperated tracks, who would you select?
REALISTIC: Without over-thinking it I'd have to say Elvis Presley's "Don't Be Cruel." Amazing backing vocals and lot's of room in the mix for some beats and stuff. Or maybe the Beatles "Revolution 9"...
MIKE: So you're currently a freelance designer and motion graphics guy making enough money to support your music and audio experiments. Do you imagine a time when you're able fuse these two efforts on a full time basis?
REALISTIC: I'd like to fuse them together eventually. I think that's the direction I've been heading. I don't know where it will end up though... like exactly what it will be. It's still some years away...
MIKE: Are you happy creating independent music releases or would you consider working with more commercially minded producers to carry yourself as a full time musician, professionally?
REALISTIC: If someone wants to pay me to make Realistic-type muzak full time that would be cool. I don't see it happening. I certainly wouldn't turn down music-related work. It's also not something I pursue. I've always been kind of afraid that money and trying to please someone else would ruin the naive fun I get out of playing in the studio.
MIKE: Is there a specific reason that your music veers from any type of storytelling?
REALISTIC: Maybe all those years of storytelling in the Fact 22 songs burned me out on it. I do think there's a more abstract sort of storytelling going on with the Realistic stuff that I enjoy. Definitely more introverted.
ILLEGAL ART: And, how are new software applications either making it more easy or more challenging for you to continue to grow as a musician?
REALISTIC: Easy because I can get a lot out of my humble home studio without spending a lot of money. Challenging because there's always something new to learn. Which I suppose is okay with me.
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