Solo soli iiiii
Fan club orchestra
The brothers Nicolas and Laurent Beaudoux have done it well since their first gig in
1996. The gig was in a large surface carpet store called "Carpet-Land". From then on Scratch Pet Land was a fact.
In 1998 the debut was released on the Source label from Nicolas Godain, active in AIR. And this year they released the second album 'Solo Soli iiiii' on Sonig (label from Mouse on Mars). So an attractive cv from this duo from Brussels.
The duality between complex and weird, humorist, made from 'solo soli iiiii' a remarkable album between the over-kill of electronic releases. There is a strong difference between the debut and this release. My brother called it even a difference in style…. And ask Nicolas;
How do you explain your change in style? You are evolved from a more
conventional sound to more difficult and experimental areas?
What do you mean by chance in style? Do you mean choice? We don't really know. Do we have a style or is it just whatever it is when we progress our musical research? We don't feel happy when our stuff resembles something that already has been made. To have a style can be a trap too. We like to reinvent even our own methods. We mean just this, we never think about certain styles when we make music. The word style is about clothes and fashion, we like to walk nude through all seasons.
In an interview done by Masayuki Shonai, you mentioned very different influences, going from Don Cherry to Pierre Shaeffer, where did you learn to know these names. Do you really see them both as influences? I can understand Pierre Shaeffer but I don't think to hear much of Don Cherry on 'Solo Soli iiii'.
The play list you quote from, it's not our direct inspiration for "solo soli iiiii" but it is just a list of records we like to listen to. From don cherry I especially like "MU first part" Maybe it is not representative for everything he does, but it's a great record. (Another great Don Cherry is Orient, also on BYG, a great French label...)
But still, there is influence from Cherry, his energy is very inspiring. Shaeffer was at the origin of the institute that as creates GRM tools. We used their software before we even knew who was behind all this. It is great that we have access to these tools without theoretical background, because there is an understanding that goes further. We mean, our body understands the tools, our ears understand, our hands understand, our brain understands. Later it was great fun discovering it's history on the CD ROM 'La musique electro accoustique'. (The electro-acoustic pioneers did a great job, they had future visions. we love it until somewhere in the '80's because from there on, there is less real crazy experiments of the unknown, more references to the past...)
When I listened to 'Solo Soli iii' I had to think a little bit on an other
Belgian project called Khön. Do you know this project and what do you think
Yes, we know Khön. We once were compared to Khön in a review on the internet (is it you?), we are very sensitive persons, so we always buy the record we are compared to, I bought the"? "(On the cover black and white, rabbit ears), I think it's an old one, I really like it. I should get to know Khön better, my record dealer told me he has many releases with many different names.
What I like is that you can feel that he has a universe of his own.
He said that in the experimental electronic music scene everything is to serious, what is your opinion about that.
Music is never serious, it's the people around it who might be too serious.
It seems that many Belgian electronic projects get more attention in
foreign lands. There are many very good electronic projects but they mostly
work with labels outside of Belgium. Also live, there is not what you can
call a scene. What is your opinion about that as a project from Brussels
that worked with French and German labels.
Is it true that we are rather isolated in Belgium, we hardly get any response here, but it's a small country so what do you want. We like our German label. It's geographically very close and yet it's far away enough to feel free, what's more we have a really good understanding with the sonig people. We laugh a lot about their jokes.
I always thought that Scratch Pet Land use toy sounds. Is that really the
case? What is the basic of your sounds? How do you come to the structures,
the sounds that you produce?
Yeah, we sometimes use toys, never just because they are toys, but for the quality of the sounds they make. But we also use big modern computers and complex electronic machines. Maybe the next generation will think of those as toys too. Sounds are friends, they bring my brother and me together, bees are friends, hiccups are friends and the snail too...
I once saw a 'gig' of Fan Club Orchestra in 'De Warande' in Turnhout where you used the sound
that the public created with Game Boys to create music. How do you come to
an idea like that? And have you still planed such projects for the future.
The Fan Club orchestra is a side project with more or less 10 people. It is founded on their energy and improvisation. Laurent gives the directions on an overhead projector (like the ones businessmen use for their meetings). He makes drawings, gives the BPM, he introduces musical themes and he manipulates the mixing board that gets all the sounds of all the musicians. After all sound data that are gathered (at live concerts or improvisation sessions) we (Laurent and Nicolas) finish the records in our studio. For this project we like to work fast, don't sit on details for too long but still try to get a minddazzling result.
In the early days we invited many guests with game boys from the audience but that was difficult to work. Now we get 1 or 2 guests and we meet up before we play to talk about what we will do. This gives better results. This way we released a record on vinyl in 2000, it is called 'sun papa and the fan club orchestra vol.1' (you can still get it via internet at www.sonig.com). Volume 2 will be ready very soon. For the future we want to change things once more and start the 'ELECTROSOLD COLLECTIF'. People will do live improvisation at the microphones of a free radio station in Brussels (radio Panik). We will record and see what happens. ELECTROSOLD COLLECTIF will have more or less the same people as the Fan Club Orchestra (plus special guests).
To make things more complicated, there also is a 'Fan Club Orchestra Japan' in Kobe. They asked authorization to use our name and concept, but for the rest they work completely independent. They are much more 'game boy oriented', they don't use any other instruments, wile we here in Belgium use whatever we like to get sounds. For the moment they are working on a record without our help, in the future we want to do something together. But all this is sideshow, our biggest pleasure is still scratch pet land.
|Sonig Records Home from Scratch pet land|
|Overview from a series BYG-releases|
|Some info about don Cherry|
|Suggestions for links to sites related to in this interview mentioned names are always welcome.|