And so many of the kinds of labels you get stuck with don't really tell the story; Progressive, Art Rock, Noise Music, Downtown - it ends up being a struggle to stay out of debates that other people are having around you.
I think that one of the things that influences me most as a composer is to what extent I can deconstruct and reconstruct the material that I'm working with.
The totality of a record is usually beyond ones ability to imagine when you start working on it, but the component parts are, usually, fairly clear one way or another.
We play melodic music, we play songs, we play all kinds of things and when you improvise you don't just shut out different languages, you use all the languages that you have.
We played some gigs in Switzerland a couple of weeks ago and it was the first time I really felt the group was really a band in the sense of something I could write for.
One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.
You could say that everything the musicians have learned and known over the years, all of their technical resources, are in a dialogue with the things they are discovering every time, as if it was the first time.
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