Audion
June 1989 Face To Face interview with Walter Holland
PART 2: WALTER INTERVIEWS LOREN . . .
How did you come to be an electronic musician and why did you choose electronics when your sound, at least to me, is fairly tribal?
I originally chose the path of electronics to get away from my more conventional training in classical music. I saw Electronic Music as the way of the future and decided that I wanted to be apart of it. The tribal aspect of my music comes from wanting to be different. Well, actually it comes from wanting to hear a style of music (until recently) was not being done by anyone else. I call it "Techno-Tribal Music."
When I listen to your music., especially POINT OF ARRIVAL, I hear some obvious influences, like Balinese gamelan, but I also detect more subtle homages - Harry Partch for example.
'Yes, I'm surprised that you pick out Harry Partch?!? They are both influences in my music, among others.'
You are nearly finished with your new album, BOOK OF ALCHEMY; could you describe the project in terms of direction, mood, etc.?
'More "Techno-Tribal music" but with more acoustic instruments than POINT OF ARRIVAL. In fact, this one seems even more tribal than the last one, but with a few surprises thrown in to keep everyone guessing. I am also using more outside help than on the last one. In fact, most of Djam Karet have been involved to some extent in the recording of the project.'
Southern California seems to be emerging as a centre of the "Electronic Underground". How do you see yourself in relation to this group of artists?
'I see myself right in the middle, with you and everyone else in the underground. I am amazed at how vital the scene is here. To me, nothing like this has happened anywhere else in the world. I mean even Michael Hoenig and Chris Franke live here!!! I am just glad to be part of it all.'
Your studio strikes me as being more of a museum of the history of the synthesizer. You must have a great deal of respect and patience to work with those instruments.
'Like yourself, I do. I feel that some of the older synths have a sound that you can't get with the new digital ones. I think that after owning a piece of equipment for a while, that you develop a dialogue with it that you can't develop overnight.'
What about formal training as a musician?
'As I mentioned, I did have some classical training. Once reaching college though, I started studying electronic music. I also studied Balinese gamelan music, playing in various ensembles. I also studied the music of Harry Partch for a while. That was interesting because that gave me a chance to play his instruments that he built. How often does one get a chance to play an instrument that has 43 notes to an octave?' 'Today, I am continuing my studies of different musics of the world, Right now, I am studying the music of Aztec and Mayan Indians of Mexico.'
What do you feel is the artists' role in society, be he musical, visual, etc.?
'I feel that the artists' role is to reflect what is happening in society today. Not just what's on the surface but what is happening underneath.'
I agree entirely, but how does this definition relate to your work?
'Well, my music reflects what is going on in my world and my interests.'
How do you feel about the current trends in the Electronic Music field?
'I think that what is being marketed as new-age music today is mostly corporate garbage. It seems to be mostly what I call light cocktail jazz . . .'
I think you are referring to tinkly snooze-a-billy.
' . . . none of what is real new-age ( or cosmic) music is getting any support at all. I think that there has to be some change soon or the thing will die.'
How do you promote your work . . concerts, interviews?
"These days mostly by word of mouth. Other than the usual: radio, magazine reviews and interviews. I have no current plan for the near future, but I am thinking about maybe doing some concerts.'
After you finish BOOK OF ALCHEMY, what is in store next?
'That only the future can tell . . . Nothing is definitely planned.
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