Alex Machacek: Fat Beyond Belief
AM: I couldn't have said it better myself. I don't know if I feel that pressure but I totally know what Louis is talking about. There are many festivals that only want to have a premiere of something. But the funny thing is that these people are always talking about bands and whenever the name Weather Report comes up they all get glassy-eyed. There were lineup changes, but that was a band. I feel that nowadays with the concept of having to come up with new stuff all the time a band doesn't really have a chance to develop its personal sound anymore because you have to be a new project every time.
With me, where I play, the promoters would probably be happy for me not to have the same band, but what do they expect? Should I come up with a new band and a new concept every four weeks? How would be possible? Even if it's possible, how would it sound? I'm still a big fan of bands and I wish I could have one band or two bands that get more chances to play.
AAJ: You've done a fair bit of recomposing, notably on your epic 24 Tales (Abstract Logix, 2010), and there's one track on FAT which is completely recomposed, but how much of the unison playing on a track like "Why Not? is recomposed?
AM: "Why Not?" is partly recomposed. There was a gray section in the middle and I thought, "Why don't I pick up where we left off on 24 Tales?" and I did it there. We are in the process of learning to play that live. With this band we've almost played the entire record live. It might be difficult but it's doable.
AAJ: You do set the bar high with your writing; you compose complex music that must be very challenging to reproduce live, for yourself as well as the other musicians, no?
AM: It is challenging but we're young and crazy.
AAJ: "Why Not?" sounds like it was inspired by the circus.
AM: When we were in the studio I had some tracks that were already composed and I also left room for possible jams and I just wanted that disco-polka. I come from Austria and the polka is something very Austrian and I don't know why I came up with disco but it just ended up being like that. It was more like a joke. There are other pieces on the record where I just had a rough sketch and the composition process took place at home later on. Then Raphael had to overdub, of course. "Studio Swing" is a piece where I just wrote down rhythmical kicks but no notes and later on I came up with the notes. Nowadays with no budget and very limited time in the studio you have to be very efficient.
AAJ: The first five-and-a-half-minutes of "What a Time to be Me" sound like a continual improvisation on guitar, and a particularly inspired one at that; can you tell us about the construction of this number?
AM: it was composed and it's probably the easiest tune that I have ever written. It's not difficult. It's just chord changes and a super short, simple head. The solo is just improvisation with a bit of polishing here and there.
AAJ: The title is intriguing...
AM: The title actually comes from the TV series Monk, the obsessive-compulsive detective. In one episode everyone is dying around him and he's so obsessive about everything and he says, "What a time to be me!" and I liked that. How does it relate to me, well, I could go on forever.
AAJ: Do you feel fortunate to be making music in this historical period?
AM: Is this a special time to be a musician? Absolutely; everyone who buys a Mac laptop is already a musician or a director because of the supplied software. Though, just because you have the technology it doesn't make you a musician or a director. Sometimes I wish I had been born twenty years earlier. Then again, I wouldn't have had the luxury of sending files back and forth.
AAJ Each period has its advantages and disadvantages.
AM: Yes, I think it's always been like that and mankind has a tendency to always complain. If somebody asks me how I'm doing I always say. "I can't complain enough." Some people are not used to that answer and they only hear. "I can't complain" and then they say "Oh, great!" [laughs] which is an indicator they didn't listen to my entire sentence. Sometimes four words are already too many.
AAJ: The music industry is in a state of flux; if you could change one thing about the music industry that would improve your existence as a professional musician what would it be?
AM: One thing only?
AAJ: Okay, two.
AM:Sometimes I think music kind of loses its value because you can steal it and it's easy to steal. Everything that can be digitalized is basically up on the internet in no time. Sometimes I have e-mail exchanges or blog exchanges where people confront me with the thought that music is free. Well, if it's free then I don't know how to make a living. It's difficult when other people are telling me that what I do is all for free. This sometimes makes me a little concerned or bitter. Buy hey, it's not for free because all the equipment I use I actually paid for, and so on and so forth. We don't even have to discuss the whole thing. The mindset that many people think it's for free just because they can steal it would be the main thing that I would like to change.
There's an entire generation growing up really thinking that everything is for free. I would like to put the thought in people's heads that hey, it's not for free. The next argument is, "I'm just downloading it to see if I like it," but how many people who already have the music on their iPod will really go and buy it? This is the reason that I have to work super low-budget so there's a chance that I can recoup, I'm not even talking about profit, I'm talking about covering my losses. I always say, well, if you're so into sharing why don't you share your girlfriend with me? Or, I'm in town; let me use your car, or whatever. But people say, "Oh, it's just music." So, that's something I really could live without, that whole discussion about other people telling me what's free and not.