On Thu, 14 Feb 2002 [EMAIL PROTECTED] wrote:
> can someone translate this drexciya related interview for us...
>
> http://www.technoidz.de/transllusion.htm
>
> or just in say what it is all about
>
> thanks
> bye
> rob
pardon the awkward translation in places. german sentence structure is a
bitch.
back to "being productive" now.......
Our dear Chet Avery has once again on a mission from elektric magazine
approached one of the big dogs in the electronic music business in order
to relate to you his thoughts and ideas: james stinson aka
tranllusion. ok, this name may not necessarily be familiar to some of you
as the headliner of the last groove or raveline, but who knows exactly
who's really behind drexciya ("the bosses of warp" o-ton rough trade
;-) ) anyway. beside james pennington, james stinson is part of one of
the most style-coining (style-setting? err...) institutions of electro,
and with transllusion has gotten a solo project going whose new album,
since its emergence in november, challenges the direct descendents (or
followers?) of the old traditions of the detroit underground. though more
technoid, swinging, and altogether straighter than one is used to from the
old masters drexcia, mighty phat (haha) and dark...if you want to have a
listen, you should look for the supremat-label in the record store. but
now have fun with chet's interview with james stinson.
chet: drexciya has always been very covered in the depths of the sea,
without really stepping into the foreground. how can we understand and
categorize your project transllusion?
t: in relation to drexciya, transllusion is a completely different
project. in contrast to drexciya, your ears and spirit (soul? wit?) have
to work to hear the differences and get a complete picture, which is
actually the point of transllusion. with a close look, the listener will
notice that transllusion represents a journey into the head. why did you
decide to conduct your solo project on the mental level? transllusion is
a journey into my spririt/soul/wit, not that of the listener. i like to
meditate, that's why i took it as the basis of my concept. the journey
into my spirit/soul/wit will help the listener get a new view of the
world.
c: in earlier interviews, drexciya spoke of a fire that they would
ignite. in what form can we expect that, and does transllusion represent
a part of it (is it perhaps the introduction)? can we see it as
revolution, and what means will you use? how will the world look
afterwards?
t: unfortunately i can't tell you right now. you just have to keep your
ears open and you'll see. one thing i can say, it'll be a musical
storm. i cant answer further questions, since they pertain too much to
drexciya.
c: in y our opinion, what are the chances of realizing all set goals?
t: i don't give it any thought. look, i don't have any influence on
it. it depends on the people to take up the music and process it. it
doesn't make a difference if 20 or 20000 people occupy themselves with the
project, as long as i make a single one happy with it, it's entirely
enough for me.
c: you live very secluded. how important are economic and political
structures to you, how do you feel about religion, science, and art?
t: regarding transllusion, none of these areas matter. transllusion
happens in an entirely different place from reality and time and describes
the inner life.
c: why do you keep so distant from the detroit scene? why do you hardly
keep contact with other detroit artists, and why is the distance so
important to you?
t: i hardly go outside b/c i dont want to take up external impressions
and influences that would be reflected in my music. the distance is so
important to me b/c i need a lot of room to freely develop my
spirit/wit. i can't even tell you who currently has a hot record out
because i'm working so hard at the moment. i know, i should take a break
sometimes and look outside, but right now i can't.
c: in our opinion, underground resistance has put the fight against the
majors a bit in the background. with the last releases, one has missed
the message a bit, that is one couldn't directly interpret it. could you
maybe tell us which way mad mmike is going?
t: unfortunately i cant answer that. i simply don't know, since i
haven't been in contact with them for years. i can't say either whether
they've given up hope.
c: why did you release your solo-project on a sublabel of tresor? were
you looking for a certain label to, for example, reach a target audience,
that is, did you look for a label that corresponded with your views?
t: as i've mentioned in previous interviews, it's not the label that
matters to me, but the music and the artists. people don't have to know
anything about the label. in other words, they don't have to know how
much money is being earned or of what my deal with the label
consists. they don't even want to know, and are only interested in the
artist. the label is only the gate to the listeners, a means to an end.
c: shouldn't one create a platform for young aspiring artists, that,
without profit calculations, gives them a chance to publish their new,
maybe even experimental, sound, and what do you think about cooperation
with other projects of the world that strive for the same goals as you?
t: of course, we have to. they are the future of techno. we can't just
exlude them - that would be bad. we have to take them under our wings and
help them. i'm open to cooperation with other projects. the more, the
better. i hope they can handle it. we live in a world that is dominated
by the media.
c: would you say that we should flee from this sytem? further, how did
you handle the events of september 11, especially since you live so
secluded? did the event have any consequences for you?
t: we don't need to flee from the system. a report from all points of
view, and not just one side, would be enough to get the correct
information. unfortunately i have to say that september 11 didn't affect
me in any way. i've been trying for years now to live my life correctly,
so that i'mm not affected by such events. i keep living like before.
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