Mark
Spybey
Of
Dead Voices on Air
Conducted by destruKt
via e-mail
July 1997
Mark
Spybey has been a very busy man of late. Alongside his role as the sonic sculptor
behind Dead Voices on Air, Mark’s involvement in projects such as SPASM, Propeller,
Lab Report and more recently Pigface has seen him attract a highly dedicated and loyal
fanbase. Mark’s other collaborative ventures have teamed him up with individuals such
as Jean-Yves Theriault and upcoming work with Jarboe (of the Swans) and Mick Harris (of
Scorn/Lull/Painkiller) has ensured that Mark’s appetite for aural construction will
be happily fed. Unlike many artists in the so-called "ambient" field, Mark
Spybey isn’t afraid to take his work outside the studio walls, Dead Voices on Air
have performed many live shows, utilising a sense of showmanship with superb
improvisation.
For a man who doesn’t even use
a sampler, Mark’s constructions employ a wide array of sounds and textures, often
haunting, always enigmatic. Mark Spybey isn’t another electronic gear-head, his
approach to sound is often lo-fi, children’s toys being among his favourite sound
devices. Unlike many retentive studio isolates he isn’t afraid to include mistakes in
the end product, allowing the human element, often missing in this type of music to shine
through.
The geographical distance between
Wellington, New Zealand and Vancouver, Canada is about as far as you can possibly get, but
thanks to modern communications and the willingness of Mr Mark Spybey to maintain a link
between himself and his fans, this interview has taken place.
In a number of interviews I’ve seen you mention seminal krautrock bands as being among your favourite musicians, how do these influences carry over into Dead Voices on Air and other projects?, and what do you think of the current revival of interest in krautrock? (like the latest Can remix album)
My
interest in German music goes back to the seventies.The first band I ever saw was
Kraftwerk, Middlesbrough Town Hall, 1975... the Autobahn tour. At the time I was also
really into Faust and Can. The whole movement had a major impact on me. Why? I guess
because it was one of the first successful marriages of the avant-garde into rock music.
Irmin Schmidt and Holger Czukay from Can were students of Stockhausen. Also because they
were all into improvising, what they were doing was not concerned with selling units and
they were clearly blazing a trail that was the stuff of pioneers.
I've imbibed this kind of music for 20 odd years, it's bound to have an influence on my
sounds. On the way I approach music making. As for the current interest in German music
from the seventies... well it's gratifying and easy to understand.
Each generation, post krautrock,
has re-experienced and interpreted the movement. John Lydon openly stated in 1977 that he
liked Can, Jah Wobble from PIL went on to record with Holger and Jaki, the New Romantics
flocked to Cologne to record with Connie Plank. Afrika Bambata re-visited a Kraftwerk
song. The shoegazers from England, Spaceman 3 and Loop et al cited them as
influences, Loop went onto record Mother Sky by Can. Stereolab clearly love Neu... it goes
on... Now, quite rightly, the techno crew is likewise taking off their collective hats to
them all. Although I haven't bought Sacrilege yet, ( I have a bit of a hard time with the
remix culture ) I can imagine that it's an important work.
To be honest, it's just about the
music of Can, Faust, Kraftwerk, Neu etc being respected by people. That's what counts.
Do you intend to remain in Vancouver, and would you ever return to Great Britain considering that the back of the Conservative party seems to have been broken following the recent Labour victory?
I would happily return to the UK. I'm happy that the Tories have been tossed. Somewhat sceptical about the Labour Party but... the key thing was getting rid of the Tories. We've kind of given ourselves five years here. But a lot can happen during that time.
What do you think of the current state of techno music? Do you think Dead Voices on Air would venture into these beat-driven realms?
I'm excited by techno. Mainly
by it's potential to engage people into new music. i.e. I think techno has a dark side
that is ripe for exploration and if young people get into more,"experimental"
music via techno, then I think that's neat. However, I am becoming a little disinterested
in following suit.
I have little personal interest in making beat oriented music. It's a noose. A comfortable
trap. The beat seduces. That's not always a good thing. I love working with beat makers
though. I'm just not sure that I will personally have the patience to do it myself.
I’ve heard you’ve recently recorded a song for Pigface, can I ask who else took part in the song?, as Pigface are well known for their strange mish-mash of artists.
I don't know who contributed to that particular song except Martin of course. When I recorded it was pretty much a beat track only. I understand Martin added more vocals but I don't know who did it. Might have been Dirk Flanagan, but don't quote me on that. I'm interested in hearing how it turned out.
Do you listen to any current "noise" music, or do you find it too abrasive?
I like Zev Ashers work and that of Aube. Some people such as David Wright also make good noise music (multi-textured) Some scribes say I'm noise orientated, although I don't honestly know why. I find a lot of noise music gratuitous. Of the current crop, I would say I don't find the music challenging or abrasive. Predictable would be a more apt description. Loose limbed heavy metal.
What exactly is the philosophy (assuming there is one) behind the Panambient tour you are taking on the road in the very near future?
People sharing the same stage at the same time. It's far from a new concept. No headline and support band structure. People improvising, working together as one unit.
Can you foresee any future collaborations with cEvin key and the Download crew or is that association something that will remain in the past?
Yes. I'm sure that we'll work together again. cEvin and I played with Twilight Circus live at the weekend. Anthony mixed the show.
There is something I have been trying to figure out for a very long time now, what's the first line of the second verse in Glassblower? [Ffreddy]
"Mock guilt bags......" It's a religious ditty.
What ever became of the rumoured Lab Report/DVOA collaborative recordings (other than the Panambient-ish shows)? Was anything ever recorded? How did the apartment turn out? [Taylor McLaren]
Well, Eric left Lab Report. Eric and I have recorded together since. We have an albums worth of work that I need to get around to mixing. He's also featured on the new Propeller album. Alas, the Lab Report loft design team never materialised. Although young Eric did spend Christmas here and a merry time was had by all. He did set up a turnbuckle for us and kindly bought and installed a dimmer switch on our ceiling fan!
What inspires the titles of most DVOA tracks? Any chance that those of us who don't speak Gaelic or the like will ever get to see translations? [Taylor McLaren]
I
have no plans to translate tiles. It's not as though they are always literal anyway. The
only titles that are descriptive are the ones that start with the words, "papa
papa..." This relates to a specific rhythmic pattern. I will mix and match words from
a variety of origins be it... Celtic, Gaelic, northern English towns or expressions,
places I've visited or those that I feel an attachment to, nonsense words (big fan of
Artaud and Edward Lear),found words, quotes, words that evoke emotions, geological terms,
Latin names etc. I'm interested in the physicality of language.Words which can hear, words
which evoke response. I want to avoid logical explanation or interpretation.
I know some people want a comfy
translation service but I'm not going to do that. I trust that listeners seek active
engagement in my music. I kind of demand that anyway. As a listener of music, that's what
I seek. I do give out clues on the sleeves and in interviews. The Beuys quote on Hafted
Maul says it all really... "one should resort to interpretation only in
emergency.." I guess what counts is that I'm aware of why I do this. Listening, like
reading or seeing (viewing attentively) stimulates people in different ways. It's an
active or more accurately, a dynamic process. I believe that if you invest effort into
this process, you will be rewarded.
By gaining insight into ones
own behaviour, thoughts and feelings. I don't want to tell you about me. I'm really not
worthy of your attention. We all respond differently to music. Even to the same piece of
music. Because our brains are unique filters. We have all had different experiences in
life and music passes through our filtration systems and "touches" us BECAUSE of
those experiences. If it doesn't, then it's no big deal. Something will. Some kinds of
music don't work in that way. Didactic music for example. Most rock and pop music that is
designed to stimulate collective experience, literal translation.
Any suggestions for interesting things to see and do if one should ever visit Vancouver? Chicago? Bremen? [Taylor McLaren]
Vancouver... open your eyes and
look to the mountains, grasshopper. All will be revealed.
Chicago... watch your back, drive
around in a fast car late at night. Go to the top of the Sears Tower and think Al Capone.
Bremen... Becks Bier.
How are the Mick Harris and Jarboe recordings going? Can you give us a preview of the sorts of things we may expect to hear to these releases?
Erm... no. I've given some material to Jarboe. We'll wait and see. As for Mick, I actually hope to go to England to record with him.
I must say the web site is one of the best band sites I’ve seen so far… you’ve also used the Internet to transmit shows live via the web, will you continue to use the Internet as a tool for getting your music across to an audience who can’t otherwise see your shows? Do you see the Internet being used as a important tool for young artists and musicians who aren’t accepted by the vacuous mainstream "industry"?
Thanks. Whilst the corporate world
continues to develop ways of exploiting the Internet for gratuitous gain (thereby seeking
to limit access for others and censoring the media in the process) people like you and I
can pretty much do whatever we want right now. I do alot of work over the net. I suspect
my profile has developed because of it. The net is a goldmine for anyone who is generally
excluded from mainstream culture.
Logistically, a group of community
minded people, innovators such as those associated with the Lab in Chicago, can share and
exploit scarce resources and reach out to others through the net. Or pests and egotists
can use it as a way of attacking people they don't know in classic coward style.
You know, I think we will use it as
long as we are able to. I fear for the future though.
Whatever happened to the planned Web Café gig’s last month? I heard a rumor that they had been aborted but I wasn’t sure…
We pulled the plug. Suffice to say, we won't be playing there again.
Do you still work as an occupational therapist, or has your music taken over as the major role in your working life?
I work full time as an Occupational Therapist and I honestly don't want that to change. Music is a hobby.
Are we going to see any more Dead Voices On Air releases in 1997? If so, tell us a little about these recordings, and who has taken part in them.
A combined DVOA/Not Breathing CD will be released in late August on Invisible, titled... "A Fire In The Bronx Zoo." David Wright and I exchanged new material in late March and I assembled some Not Breathing material and he did the same for DVOA. It's atmospheric, full of drones,careful and occasionally beaty. I also hope to release some DVOA 12-inch singles this year too on Invisible. I've pretty much recorded continuously throughout this year and have numerous finished and partially recorded works stored. I hope to assemble a double CD for Invisible later this summer. It will be produced by Darryl Neudorf and Kris Harris. One CD will be comprised of two lengthy drone pieces. The other will be a hotch potch. I'm also very busy with collaborative works.
Do you intend to do any videos for DVOA, or some form of multi-media recording in the near future?
Yes. I just spoke to Kris about this. I only have eyes for Mark Nugent (who supplied the visuals for Download last year) and who, in my opinion, is the ideal film-maker for my music. I don't want or need to produce a "rock" video but the potential for CD-ROM work is tangible. I want to do it well though.
Did you end up getting hold of another Godzilla toy, and do you have any other interesting new soundmaking toys in your collection? <grin>
Alas no... Although a kind and repentant soul from Toronto wrote a very nice letter to Invisible recently and returned a flute that he stole in Toronto last summer on the Download tour. Actually a flute that cEvin bought me in Japan. I was deeply moved! I got a Casio sampler, all of 60 bucks recently that is very tasty. Holds four short or one long sample.
You gotta love it. I love tacky products
