We've even got leftovers of that in England, because I remember doing a show called "The White Room." They had many bands on, and everything would be white, you could only see instruments, no amplifiers, nothing. They would put white over everything, it's a very graphic show, and I had two people playing with me live there, which I was very proud of, I had Graham Massey from 808 State, playing a computer, doing a complete live mix, and Howie B. We were doing two different songs, both of them were working together, they had tons of the same stuff, and they set it all up, very organic. And the show would start putting white towels over all the computers. And they were kind of asking them questions like, "So, can't you play a tambourine or something?" I was furious! You're talking to the pioneers, here...you're gonna put towels over their equipment and ask them to hold a tambourine? It's like "Get a life!"
So people have very strange ideas about this. And Marc Bell, one of the reasons I love so much working with him...like the rhythm on the first song on Homogenic, "The Hunter." He came to Spain just for a laugh. And he heard the song, I'd done the vocals and the bass line and the chord structure, but there were no beats. I explained to him the beats and he recorded it live in one take, and the beat changes through the whole song. He did that on a 909. It amazes me that people still can't grasp that live element of it.
text: Sweater 1998-08/By Jim Greer
Read how she mixed her senses in the creative process during the making of her album “Ears”: ableton.com/blog/kaitlyn-aurelia-smith/
- Musician / ComposerFreelance, present
- electronic music
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