Last
Sigh: You are involved with three projects, those being Lilith, Orbitronik and
Strawberry. Who works or has worked with you on these projects and for what duration? How
long have you been creating music with each of these projects? Is there any specific
philosophy or agenda behind your music? What was the impetus behind your becoming involved
in this music scene? Could you give us an idea of the sounds of each project? What type of
gear do you use to create your sounds and how do you use it?
Scott: I'm never satisfied just doing one type of work. Each of these projects gives me a
chance to play around with different models and configurations that are mutually
exclusive. For example, a punk gig at the local bowling alley versus electro-acoustics at
an international arts festival...
I began Lilith in the mid 80's and directed it halfway between Industrial and
Electro-Acoustics before around 1989 leaving the Industrial aspects well enough alone. For
the last decade I've mostly using it as a vehicle to explore free composition and the
physically of sound. In the studio Lilith has pretty much just been a pseudonym for my own
solo work, but for live performances I've been fortunate to work with Brien Rullman on
video and Rachel Gibbons on instruments. The gear is varied, mostly it's just a microphone
and racks full of outboard effects though. I use some software tools on my Mac also, but I
usually send any digital recordings through an amp and then mic it to saturate the
results. I use to record everything straight to DAT, but I went to Digital Performer
recently and there's no going back! For inexpensive hard disk recording, it's the only way
to go. I use a few synths primarily for their filters and envelopes, not as sound
sources. I built a few synths for Rachel to play live. Nothing spectacular, variations on
a theremin really.
Recently I've been wondering what to do with Lilith because back in the 80's the name was
an obscure but pregnant reference. A horrible person, you know who, has made it a
household name in the last few years though, and I have very strong feelings against her
because of the piss poor way she's treated a friend of mine who put a lot of work into
making her first album a success. I don't have the desire to fight her over the name,
since there's really no confusion in the market over her product and mine - but it still
leaves me feeling soured on the name. I'm considering just using my own name in the future
but haven't felt totally comfortable going that route either. If anybody has any great
ideas, please let me know.
As an aside, I'm also working with Socģetas Raffaello Sanzio and it appears that this
relationship will continue to grow. They grant me a lot of freedom to operate within the
framework of their projects' themes. My contributions there resemble my output as Lilith,
but are designed to function within the setting of a larger production for theatre. We
just debuted a new work earlier this month which takes Monteverdi's madrigals as its
subject matter, climaxing with Il Combattimento. I teamed up with Roberto Gini on the
music - medieval music is his specialty, and his interpretation of Monteverdi is very
innovative in that he is concerned with using the mouth - not merely the voice - as an
instrument. He directed his ensemble according to his new understanding of the original
score (very different from his recordings of some 10 years ago!) while I created new
arrangements using those sounds. It's on tour right now, you can reference the tour
schedule at
http://www.raffaellosanzio.org/calendario.
The debut was in Belgium; Austria, France, Italy, & Holland are coming up next.
Genesi, our previous collaboration which is a sort of dreamlike retelling of the first
book of the Bible, is also on tour right now. I wholeheartedly recommend these
performances to anyone - I honestly feel changed after having seen them. I openly wept
during each of the rehearsals for Il Combattimento! I blame Lavinia Bertotti's voice for
that though, she has the voice of an angel.
Orbitronik is myself and Brian Ladd (Blackhouse, Psyclones, and the Ladd half of
Ladd~Frith Music). The only game rule we have is to imagine that we died and went to
synthesizer heaven. The gear list we use increases daily it seems, but right now the
highlights are a SCI Prophet 5, Pro-1, Korg Polysix, Z1, Electro-Harmonix EH-0400
Mini-Synth, Casio MT68, Moog Rogue, Roland JX8P/PG800, MC202, CR-78, S-50, Emu e64 and
Emax II samplers, Akai S01 sampler, Siel DK80, Ensoniq Fizmo, Yamaha DX7, DX100, AN1X,
Alesis HR-16, Kawai K1ii, Theremaniacs Theremin, a bunch of toys (Hott Lixx guitar, etc)
maybe 10 different guitars, and both acoustic and electronic Simmons drums (SDS800). The
final sequencing and recording is done on an Apple G4 running Digital Performer. We
started working together because we wanted to do something like synthpop, with fun little
melodies and simple rhythms, and we thought it would be really interesting since neither
of us had done anything like that before. I told Brian that I was a big fan of his early
work, so he dug out some of his earliest recordings (going back to 1976) and we took that
as our starting point. Our first album is mostly a collage of those early recordings,
although the second album "My Computer My Stereo" has some new material built up
from scratch as well. I always thought we sounded like a couple silly Americans goofing
off but I've heard comparisons to Kraftwerk and Mouse On Mars, so maybe it has that a
touch of that sound as well.
I can't really talk about my relationship with Strawberry, much as I would like to,
because of the nature of my contract with the Taigkyo Corp. But if you go to http://www.taigkyo.com it should become immediately
apparent what that project is all about. There's a link to a whole concert in RealVideo
c/o Supersphere that's worth checking out too. I'll only leak to you this little bit, that
I've been retained to do a lot of work on their upcoming New Wave album. I have a real
affinity for the vintage synthesized sound that Taigkyo wants used to accurately recreate
the feel of the early British New Wave. I've been buying up a bunch of late 70's/early
80's synths in anticipation!
Strawberry is very close to my heart though, I find it very fulfilling on many levels and
I hope for a long successful future there.
Last Sigh: Where can we find you on the web? Do you have any samples of your work
online? How can a person purchase your music or get a catalog?
Scott: I maintain websites for each of my projects which is definitely a mixed blessing.
On the one hand, I have control and responsibility for all the content which I think is
important. On the other hand, because my schedule is so busy, the sites don't get updated
very often! I try to keep them simple to navigate through though, and each of them have
MP3's and/or streaming audio/video:
-- Lilith -- Orbitronik -- Strawberry / http://www.taigkyo.com --
--- Adam & the Antz --- this is an archive of the tribute project with members of
Cheer Accident, the Flying Luttenbachers, Blue Man Group, Trenchmouth, To Live & Shave
In LA:
http://nomusic.hispeed.com/ants/index.html
I keep lists of retailers who carry the albums on the sites. For example, for Lilith, go
here and click on the "Sources" link at the top:
http://nomusic.hispeed.com/theoutsideworld.html
Last Sigh: You reside in Illinois, more specifically around the Chicago area. What's
the music scene like there for the type of music/sounds you create? Do you play live in
Chicago, if so where? Where have you toured in the past? Where will you be touring at in
the future, any dates/venues set up in the states
or Europe?
Scott: Well, Lilith is very difficult to take on the road so we usually only play a few
select festivals, colleges and universities, things like that. Since there's pathetic
little support for the arts in the US, most of those shows have been abroad. I'll be
playing ARS Electronica (Linz-Austria) this coming September [2000] as part of an ensemble
demonstrating new electronic instruments designed by Golan Levin. He has some information
posted at MIT's site at http://acg.media.mit.edu/people/golan/
I really only gig in Chicago with either Strawberry or, in the past, my Adam & the
Antz tribute band (which just recently broke up). We hope to be touring more with
Strawberry in the near future - every time we play out the response is overwhelming. At
our last gig, someone threw her bra on stage. It was quickly followed by panties... If we
could just organize a three-month tour, I imagine we could conquer the world with it.
Before our next gig though, we're wrking with Jennifer Friedrich (RedMoon Theatre) and
Steve Collines (the Lab) on a Strawberry puppet show. It's still preliminary, but check http://www.the-lab.com in a couple weeks for more info
on that.
I've played out as Orbitronik a couple times but my other Orbi half, Brian, lives in
California. We've never actually met and so those gigs felt more like anti-gigs because
it's just me with Brian's performance being prerecorded. For example, we played once with
Brian just "jamming" on drums on videotape. We projected the video of Brian
behind me and ran the audio into the board, and I mixed him in with synths and samples...
Last Sigh: Do you have any formal education or training in music?
Scott: Sure, but very little that has stuck with me over the years I'm sorry to say. I
took lessons in sax, piano, organ and guitar when I was young. I never maintained any real
interest in any of those except organ, I thought the organ was great because you could hit
a couple switches while playing and have a completely different sound. But synthesizers
were still out of reach of consumers at that time. If only Casio was making their little
mini-keys at that time!
My education has really centered on the philosophy and sociology of religion. You can't
hear the influence so much anymore; it was more obvious in my earliest recordings. Now
I've become much more interested in sound for sound's sake, with very little agenda beyond
that. Well... I still love using symbolism and pregnant sources, but I prefer to obscure
them now and keep any references from being too blatant. In the liner notes I can expound
on some of those significance's, but I think the music itself should stand on it's own.
Last Sigh: If you could work with any artist of your choice in creating music either
live or in the studio, who would that be and why?
Scott: Oh wow, that's a tough one. Well, I'm really looking forward to working with Chiara
Guidi on an opera of Dante's Inferno. We started talking about this last week as a project
that could be created for a 2002 debut. Her mind is incredible, and the thought of working
with her on this makes me shiver. We'd worked together on Genesi and Il Combattimento, but
this new work would be an entirely new genre, a true New Music opera. She will write the
score to be performed by singer who have specified physical deformities. For example, one
part will be written for somebody who has had a tracheotomy. Then I'll have a modular
system that I'll process each of the mic's through. Some combination of the live and
processed voices will be the final audio output, although the audio will only be one
element of the whole project which will be a total theatrical production.
I'd also really like to work with Alejandro Jodorowsky. Take a look at this page if you
feel like I need to qualify that statement; it should become immediately apparent why I
hold this man in the highest regard:
http://www.hotweird.com/jodorowsky/write.html
Last Sigh: You have travelled and played in Europe in the past. Who did you play with
over there and where? Would you like to share any memorable music experiences with us
regarding your time in Europe?
Scott: Lilith has played at a number of festivals, Socģetas Raffaello Sanzio tours
extensively through Europe and Australia with my compositions. Socģetas Raffaello Sanzio
& Roberto Gini, Golan Levin.
Last Sigh: You recently played with Dead Voices On Air
and Not Breathing as a guest on their Fall/Winter 1999 tour in Chicago. How long have you
known Mark Spybey? Any chance of working with him on any projects in the future, maybe
another guest appearance when he comes over this summer with The Legendary Pink Dots?
Scott: What funny timing, he just asked me to join the merriment at the Chicago gig! Mark
is incredible, I have a really bad sense of time but I think I met him at the Lab for the
first time about 2 years ago. I've been a fan of his for about 15 years though, going back
to his Zoviet France years. Steve Collins at the Lab finally got the two of us in a room
together and I instantly fell in love with the man. He's an incredibly gifted person and a
real pleasure to be with in any context. One of the most genuine people I've ever met.
Last Sigh: What labels do you work with on your projects? Do you have any advice for
bands looking to get signed to an Indie label?
Scott: The record labels are here (most of them allow you to order music directly from
their websites):
Hushush.com -- Ladd~Frith -- Sub
Rosa -- Thousand
But - I've never actually been signed to a label! I just work album by album. I don't work
well under pressure and I prefer to just work at my own pace, in my own direction. When I
have an album that's nearing completion, I'll throw some demo's around and see who likes
it.
Last Sigh: Is there anyone who influenced you when you were younger/or currently, in
terms of becoming involved with creating music/sound or the direction you are taking now?
Scott: Oh yeah, absolutely! Steve Stokes primarily. His music has never been easy to
pigeonhole but it's had a profound impact on me. He's probably been TOO supportive over
the years in not telling me bluntly when I was coming up with crap that totally sucked,
but then I guess he always knew I was just in it for fun and not to be the next Big Thing.
He also encouraged me to be able to see beyond musical trends and genres, and to simply
enjoy the Process and also the possibilities of all sounds.
Steve introduced me to installation artist George DeMerle around 1985, a very formative
time in my life, and George opened my mind to the idea of totally immersing the audience.
He designed and constructed these incredible installations which unfolded over time all
around the viewer. It was like theatre without actors or a stage. I can cite George's
installations as being a major influence on what I hold now as my musical ideal. George
& I area talking about doing a collaboration in the very near future, which has me
very excited. Right now I'm just looking for a place where we can make this happen. George
has very particular requirements for a space, and it's not easy to satisfy those needs.
Steve also recommended Brian Ladd's early Blackhouse cassettes to me way back then, and
the influence from those probably shaped my early recordings at least as much as anything
else. I'd been making some similar recordings myself at that time, and finding that there
was a group that was making these cassette-albums on their own terms spurred me on to do
the same. Getting to work with Brian later with Orbitronik has been a real treat because
for our first album together he dug out a bunch of his recordings from that time period
and even earlier, and we remixed them together into a new album. So I got to really dig my
fists into some of the material that was directly responsible for my interest in recording
in the first place!
Last Sigh: You are obviously quite passionate about your work in the music scene. What
pushes you to continue making music/sounds? What are the rewards for you in doing all of
this?
Scott: The money, the fame, and the women. No seriously, it's just that I really enjoy the
process. When I was a kid, I would take things apart to figure out how they work. Clocks,
toys, record players, whatever. I think this is just an extension of that same impish
nature that pushes me to destroy things to understand them. A vivisectionist of sorts,
heh.
Last Sigh: Do you have any advice for people just starting out in creating music?
Could you give us a couple of your favourite quotes that best represent you and/or your
music creations?
Scott: Heh, I'm hardly one to be dishing out advice about anything. I guess looking at it
another way, here's what I've learned or regretted over the years:
Don't take shortcuts. Learn how to both read music and how to improvise, alone and
with others. Decide what rewards you want to get out of music and set goals and
expectations accordingly. Study and rehearse your craft, whether it be composition, an
instrument, your voice, or mixing. Always keep in mind that nobody owes you anything,
there are plenty of people more talented than you, and if you succeed in any capacity it
will only be because others have gone out of their way to help you. Take and be grateful
for every opportunity.
As for quotes... Uhm, the Wire's review of Redwing really nailed a lot of the elements
that I'm most interested in exploring:
"Master of the sub-bass drone and the post-apocalyptic landscape, Gibbons' tendency
to musical understatement is extraordinary: what he shows us seem to be empty wastes,
still throbbing in the aftermath of some recent cataclysm. Not the event itself, but the
trail, the marks showing where the deadly scuffle took place."
Seth Sanders posted a beautiful Strawberry review last year that coined us "a sick
Platonic Form of platform-heel Space Fag God Rock." I never really understood what we
were really all about until I read that, I think that's about accurate enough as I could
ever hope for.
And your own Last Sigh writer Michael Lund nailed Orbitronik's aesthetic pretty well when
he said "listening to Orbitronik from beginning to end becomes akin to leafing
through an encyclopedia of computerized sound."
Last Sigh: Thanks so much for taking time to work with us. We hope the best for you in
your music/sound endeavors.
Scott: Kim, thank you! It's always a pleasure to rub elbows with you.
Contact: Scott Gibbons
**********
Watch: an Mpeg movie from Fall 1999 Chicago DVOA
tour with Scott Gibbons. [You need to
have a movie player to see and hear this 1.4 meg Mpeg movie.]
Read: reviews of Scotts music at Last Sigh.
Demo Tape
Field Notes
Orbitronik
See: photos from the DVOA tour in Chicago,
December, 1999 with Scott Gibbons.
[This Mpeg is Copywritten to the respective
artists and Last Sigh and may not be reproduced in any format without written permission
from the authors and Last Sigh.]
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