Adeptsound and their projects Zilverhill, Schuster and Present Day Buna are long time partners of kulturterrorismus! We’re proud that Paul (Present Day Buna) & Tim (Schuster) of Zilverhill answer the questions of our serie “13 questions to…”! If you think that interview is complex, you’re right!
kulturterrorismus: Hello from Germany! We hope all fine with you? Where are you? Please, tell us your story!
Paul: I was born in Luton near London but grew up in the city of Lincoln. I have been composing since the age of 14 after my parents bought me a bass guitar for Christmas 1975.
kulturterrorismus: When did you start composing music? What or who were your early passions and influences?
Tim: My early passions were Punk circa 1977, then Joy Division, Clock DVA, post punk.
Paul: Incentive and influences came from the time of punk and all the possibilities that era opened up. I got to know many people who where into the same things and like many music orientated youths I went to many gigs in Lincoln and the near vicinity, like Nottingham, Sheffield, Retford, Leicester Leeds Manchester and occasionally to London. My first band was called 183 Red Herrings (formed with school friends) and then many others after that. I really got onto the alternative scene after meeting various people from the age of 18/19/20.
kulturterrorismus: What are currently your main production-challenges? Give us an example! Do you work mostly alone or with other musicians?
Tim: Being in the right state of mind to compose. The examples are in all the work I create. I work alone.
Paul: Zilverhill is with Tim Bayes (Schuster) who I have known since, around 1983/4 and we were in a band called Ideas Beyond Filth with Steve Cammack (Dieter Muh) but I also did various other projects with Tim. One was with Dave Uden (Dieter Muh) The other projects were called “Art vs. filth”, “Inner Week”, “Diet of Worms” and there were more. We used to swap and change ideas and record work on a regular basis. All of these bands produced cassette releases but were little known. We played live a few times, Art vs. filth & IBF also Diet of Worms. All of this time was spent in Lincoln and Sheffield. 2005 and I worked with a guy called “Foster” who goes under the stage name of “UTT”. We created 3 CD’s worth of material but I do not know what happened to the releases as Foster disappeared along with the work.
kulturterrorismus: What do you usually start with when working on a new piece?
Tim: Manipulated samples.
Paul: I, myself, go under the name “Present Day Buna” as a solo project and have a recording label called “Blind Shouter” There is also a blog site called “Nervous Swirl Location” where I am beginning to catalogue various pieces of information. As far as composing is concerned I tend to resample older works or create new sounds from existing field recordings. I tend to like reprocessing different sounds and rhythms from my bank of tapes and digitise them using various sound processors and recording programmes. I tend to start with a simple timing, 4/4 or 3/8 being my favourite and layer sounds on my Mac (Logic Pro) but I only use the computer to record or clean I do not use a computer programmes to create the initial sounds. I tend to use a solid state recorder if making field recordings, a sampler, various sound processor boxes, contact microphone (I have been using these for years now) and a chaos pad plus CD players and my mini disc recorder (which is still very useful and under rated).
kulturterrorismus: Do you strictly separate improvising and composing? What is better free jazz or classical style?
Tim: This is the same. I have no opinion regarding the second question.
Paul: I tend to compose classically when the mood fits, especially if I have an interesting rhythm but I also like to have a few sounds on the sampler, which I can improvise with.
kulturterrorismus: Is any relationship between sound and live or working day? Please tell us your opinion!
Tim: I don’t understand this.
kulturterrorismus: Do you feel it important that your music spread a message? How conceptional is your music or only for hearing without thinking? What await your listeners?
Tim: I try and spread my work via the internet, my work is my catharsis, various sigils for me, meaning and non-meaning messages. The listener can find his/her own personal meaning in them.
kulturterrorismus: The role of an artist is always subject to change. What’s your view on the (e.g. political/social/creative) tasks of artists today and how do you try to meet these goals in your work?
Tim: I have no opinion of any of this.
Paul: I do Zilverhill purely for pleasure and have no great visions of wanting to conquer any genre or make a name for myself but I do demand respect from others and there have been circumstances where people I have worked with are not respectful and have taken my work and passed it on as their own. This is the biggest insult and wrong doing that can happen to a creative mind. Not getting credit for work done and others stealing is a despicable sin and should be exposed. It has happened twice with two different people, One who could not be trusted anyway and another, an old friend who I did a tremendous amount of work with and has now betrayed me.
kulturterrorismus: There seem to be two fundamental tendencies in music today: On the one hand, a move towards complete virtualisation, where tracks and albums are merely released as digital files. And, on the other, an even closer union between music, artwork, packaging and physical presentation. Where do you stand between these poles?
Tim: As we used know it & now know it music itself is the same, a continual evolving loop, although the transportation of it has now changed.
Paul: Both members of Zilverhill have a strong history in the genre. I tend to compose as it comes naturally to me, I think a lot and have a feel to create and when it is strong, then I will put in down into a composition. That is how I work and it is how I have always worked. I concentrate on my work and encourage others. I like to be fair and honest. I don’t deny anything that has already happened or try to mould the past into a form that makes me look better than I am. My work does not lie. The releases we do as Zilverhill or I do As Present Day Buna have to be the complete deal. I like the feel of an artwork. It is more than just the parts that make it up. It needs to have a sense of worth and character, just having music as a digital file is not enough; it lacks mass and substance and is not memorable. It is also vulnerable to decay and is too easy to obtain. There needs to be something to collect. I believe in Art and have faith in expression. The day we stop dreaming and creating forms that a new then it is time to give up. Artists create possibilities and creativity is a route of strength and hope with endless opportunities. Expression is a strong voice.
kulturterrorismus: Music-sharing sites and -blogs as well as a flood of releases in general are presenting both listeners and artists with challenging questions. What’s your view on the value of music today?
Tim: I really don’t think people, in general, listen to music in the same way, they have less time, less concentration, information overload, the weight of possessions. Sometimes you need to l i s t e n and not just listen.
kulturterrorismus: Do you see Facebook as blessing or shit? Is it right, that musicans can not work without Facebook, if they want near by their fans, make cooperation with other artists and so on?
Tim: I no longer have my Facebook page or other ‘So-called’ social needs.
kulturterrorismus: Is money the only thing to be recognized artist? Or could non-mainstream music same successfull as mainstream?
Tim: It depends if money is your god.
kulturterrorimus: The last words are yours!
Tim: Thanks for your support in Adeptsound